Shinto priests of ancient China dropped ink into ponds, blotted its rippling patterns onto rice paper, and offered these impressions to emperors to burn in prayer ceremonies. These priests understood the transience of worldly patterns, as do I.
In FLUIDISM, my blotting paper is photographic film. Film captures patterns that are much more intricate than ripples. Film freezes these more complex, delicate patterns to appreciate longterm.
The word, "fluidism", exerts full power of the "ing" suffix, which emphasizes progressive action, as opposed to a static end. The pool paintings of fluidism always are in action; they progress and regress simultaneously between creation and destruction. Somewhere between these opposites is where images of peak performances are captured.
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