Paracelsus - Coelum philosophorum
Getting out of the oyster bed (before the page).
Taking the dead end of metaphor.
During this process it often happened that the "unfinishedness" as by magic was drastically removed from the visual appearance. Forms took up my hints and began to tell a story, or started to break down the motive. The ones showed here became alive to me. But since the sketches neither were properly "finished" according to my original thought nor deterred totally from what was vaguely intended to be there, I played around with the idea of expressing the process of transformation in terms of a "negation of the negation", or akin to how psychoanalysis manages to outline the structure of the unconscious by projecting the ideas of lack and desire upon it.
Because from this dialectic an agreeable analogy seem to present itself. Namely that the transformation of the images come to display features of the original "non-element" at another level of meaning. (From the Paracelsus quote, I even constructed the phrase "unconcealing the incomplete features" for the process, thereby alluding both to how the matter embedding the metal ores is removed and to the sense of precognition which is involved in creation.)
The new level of meaning referred to remains, I would think, qualitatively percieved as the artist´s familliar sense of animistic euphoria, as when the work suddenly becomes alive and other. But the further implication of this change is that the artist´s dethronement or removal is actually suggested, since the suspicion that "thought is flowing forth directly from material reality" begin to make its glorious claim. This gets me back to why the drawings were abandoned to begin with: it can often be very tedious to have do all the thinking, planning and manual labour for oneself.