Please help!

the use of a particular tool, by any individual, can serve to enhance certain specific already existing effects. when a piece, or an endeavor, is particularly immense, the risk of the tool becoming more precious than the piece is pretty much none, and the risk of some kind of tool infatuation over an infatuation with process - can vary based on the individual(s). in certain contexts, the only real challenge is dependence on the tool to create and a felt-sense of obligation to create...obviously this is only a problem when the tool is not available or somehow not appropriate. like you can't use regular colored pencils on a piece done on plexiglass with, say, i don't know watercolor or something.

anne, to address maybe your question? well, it is true that the human experience in its entirety is already available. and, let's say, for example, we are using the medium of the human experience of conscious creation, that is, having consciousness, and creation as its um aspects. so imagination, and action are the vehicles. well, while it may certainly be possible to develop certain sensitivities to particular idk heights of experience, or experience with a particular quality of clarity and capacity- that's two qualities i guess, except capacity's not a quality.

great.

so anyways, my point in the last part was intended to be that if a painter has a great idea, and he wants to do a painting in a particular way, or he just knows that this particular thing is just really really good or necessary, but say it requires that his representational drawing technique be really fabulously developed, but it's not- but well, developing this technique would take a lot of additional time, and study, and whatnot, patience, and repition. He just doesn't have time for it. So, he uses a projector or something. While developed skills are useful for choice making and having choices to make from, in this case, the representational drawing technicalities are not the point of the piece, or even one point, so there's no problem for this piece.  

Even if someone's primary focus is not, say, the movement and specificity of contour and linear mark-making, excellent drawing skills can be employed without having to go through endless quantities of technical study, simply by choosing to look more carefully. in really immense projects of really immense seeming weights, this is harder to do, i feel.

let me give an example? it will veer slightly off topic, invariably. between about six and seven years ago, a sense of urgency way more potent than before began to push me around, and press at my work or whatever...it became quite intense. there was no stopping, the notion of pausing and resuming was not even anywhere near my mind, if i made the perfect piece, it would pretty much save the world, and obviously i had to do this in as short a time as possible, because, and it really does feel this...otherwise the world would be doomed to...well, there wasn't time to think about exactly what...and it would have been my fault. possibly to accomodate this, came into my toolbox, ice. or glass, if you prefer. for three years, it was very helpful. then it was no longer helpful. this was because of a kind of specific discovery, i guess, or really, the accumulation of years of discoveries, embodied, or ... look, i have begun to sputter about in meanders. anyways, after it was no longer helpful, while certain aspects of my day to day experience have changed um a lot, or you know, lotish, the particular - christ, whatever. you think it's impossible or something will be missing, and that's true, what's missing will be, in my case, that, or things like it, and it sounds and seems obvious, and also is true, that the rest of it is not missing when that is. there is some challenge i guess with taking on such projects, that a certain degree of humility is required for balance.

  blessy

 and, nope

this has nothing to do with what I was talking about.  Please move along!

I have no suggestions.

i don't