” Fate can involve things which are bound within and subject to larger networks. A set of mathematical functions arranged in a grid and interacting in defined ways is Fatelike. Likewise the individual statues in a larger work of counterpoint art are aesthetically Fated within the work. In each case Fate is external to every individual component, but integral to the network. Every component acts as Fate for every other component.
The entire world can be seen as existing within such a network, a kind of mythical spiderweb controlled by unseen forces. “
That’s a bit matrix-like but in the great Cheesecake of Life I believe we are given the biscuit base, yet each one of us is free to create an individually themed topping. Each ingredient acts as Fate for every other, yep that’s it………..
” Motz Art was first performed in the 1980’s, following the initial success of the paintings created by John “Motz-art” Motson, a football commentator working for the British Broadcasting Corporation.
When watching a particularly boring match as a young reporter, or any involving Tottenham Hotspur, Motson would discard his microphone and start playing around with some crayons. (These earlier works are keenly sought after). As most of his commentary involved the same expressions he soon discovered that the use of a tape loop would allow him to really work those creative juices,
A major controversy occured in 1991 when Atletico Madrid fielded a player named Picasso. Motson , confused, was temporarily banned by the BBC for dipping his microphone into a mix of sky-blue paint that just wasn’t happening. Although this had occured during a particularly important passage of play, the Director General at the time – Marmaduke “Fergie” Redface – had to lift the ban when faced with a public outcry from artistic Sun readers.
Motz Art continues to flourish in all major galleries, and entrance is free to any wearing sheepskin “