t thilleman

Poetry          Prose          Pastels         Longpoem          Collaboration

Mediation to sweep the daily hysteria from the mind. In some, partial figure emerges : a face, dark angel, alien, birthplace of stars, a blond goddess but none remain locked in place or fully there and happy to recede into the profusion of energies and colors. I'm a created being in a chair viewing them (some would say partially formed). And they generated my own bounce/reflection into my own mental images of the endless electromagnetic prairies and meadows across the universe.

     Richard Martin


Images are dia- as well as multi-lexical. They are chakras, or nāḍi of the subtle body. Points and meridians at which prāṇa flows—or is kept from flowing.

"In that smallest or even invisiblest part I am comparing all that once passed through the mirror, the dream of the eighthand, the giving hand, the one whose synonyms call out to immense black silence defining it for a moment, a word, and no more as they both fall into chasmed dark the seemingly empty fullness of all I am."

"Breaking through that hard shell, the egg and ovum of creation, circulates a possibility to forget as well as remember. Opening—the shedding light—neither by “fall” nor fault—enables the rational to see."

The bright and densely hued drawings, reminiscent of Mark Rothko, convey this omniscient sense of creation and movement. Humanity’s great abstractions, time, creation, and ego, intersect and interact in thilleman’s abstract representations. In each drawing, an identifiable vein of color and movement runs through the center of the page and fans upward. This vein is the flue, the passage of “heat and smoke” that represents thilleman’s allegory of how “Now” becomes “(k)Now”. If meaning is meant to be found, it will find the viewer.

   Callie Tahat, Toad Suck Review

"The concept of picture-making has given way to the inception of the pastel in correspondence with all matter. I am not drawing out revelation but am simply allowing the pastel to speak for itself by providing a series of surfaces for it to expose the inceptual leap my writing pursues as it moves out of its inner narration."

"Like the literary essay (Blasted Tower) this kind of making falls between two receptions. One reception is an understanding of the nature of reality in light of its telling my early history. The other receiving is a resistance to its own “telling” into any reality via “hardened,” literary edges. I am naming the entire process ‘chaotic’ so as to dispense with limitations the drawings always process as picture-making. These are serial, dis-catenated, non-replicated pieces—and yet they retain their surface as the moment of em-picturing something other than that surface."


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