Tuesday, December 06, 2011

The Beauty Glass / Intellectual Mirroring cum Love cum Death
Kofi Fosu Forson

I fell in love. I fell in love with a ghost.

On facebook the social network I befriended a young woman on a snowy day in Milano Italy. She was listening to Miles Davis' Bitches Brew while talking to me via the live chat.

She was alone. Apparently she was always alone. Coy and particular in what she shared I brought out of her a persona she hadn't actualized in herself. Patiently I helped her reveal inner demons coaxed her through moments of sadness.

All the while I imagined this beautiful woman sitting by the window as snow fell taking me through moments of fantasy images from the album cover of Bitches Brew floating through my mind.

This moment was telling wooing a woman who lived continents away. I had a great knack for possessing women with language. A means of intimacy which inspired a former classmate to call me the "word pimp."

The woman in question much like people on these social networks were lost somehow in need of an escape. Life on the internet gave them a means of touching the hearts and minds of those far far away. This was no different. I had been tempted to join facebook. In doing so I got a chance to affect the madness and beauty of many of these women around the world.

It became a common thing for this woman to "poke" me a service on facebook where people are able to "poke" another as a way to say "hi". The more she poked me sometimes more then twice a day we built a sense of attraction a sense of love.

Within the virtual threads of facebook with little means of verbal correspondence between us we fell in love. The constant poking became inffectious. It built desire and libido in me. There were times when I would lay in bed thinking about her and my body was overcome by her virtual spirit. I would rotate on the bed in total phantasmagorial allure.

I was smart to write the word "phantasm" on a thread we shared. She promptly wrote back "fantasm". We both knew what was happening. Our mutual ghosts had possessed each other.

This became the death of us as I summoned her ghost when I felt lonely. She came. I would take my clothes off aroused waiting and expecting her to torment me. It was torturous. At times I was angry angered by the fact she and I would never meet ever face to face. I had to forever live with her ghost torturing me.

I was advised by a mutual friend on facebook for us to kill each other's ghost. I spent moments murdering her ghost went as far as to delete her from my facebook account. We came to an understanding as we resumed our affair which turned into a respectable mutual love for each other.

We never truly had prolonged discourses besides the poking. We shared meaningful love notes realized we had an eternal love affair.

In this the virtual world our love is everlasting. It is understood. It is recognized.

We may never meet in person. Somehow we shouldn't.

I know if we met it would be remarkable and brilliant.

I am her love. I am her lover. She has men. I have women.

And we have never met. But we are in love.


Sunday, December 04, 2011

art imitating life was always faux. life is art. art is a manifestation from life. the last of which we have seen are the post feminists post modern intellectuals post modern fashionistas post modern rock and roll geniuses to them life was art now we make art fail to manifest what has to be understood is potential not to under sell potential the potential to be be become we mold we sculpt we articulate from life that life is art is the manifesto not the art itself that we make

Monday, October 31, 2011

October 28, 2011

Artists Kofi Fosu Forson
Dianne Bowen

Saturday, October 22, 2011

Special One Night Event:

Dismember The Night, Collaboration Poems and Photographs, with a full color soft cover and hard cover book produced on the occasion of the exhibition available on line now.
link: http://www.blurb.com/my/book/detail/2498630

“Dismember The Night” By Kofi Fosu Forson and Dianne Bowen
October, 28, 2011
Opening reception, Friday, October 28 from 6 to 9
Poetry reading on opening night “the thread slam” poems, October 28 at 7pm : Kofi Fosu Forson and Dianne Bowen
Gathering of the Tribes, 285 East Third Street (Between Ave C&D)

On October 28, 2011 artists Kofi Fosu Forson and Dianne Bowen will present their first collaboration project “Dismember The Night”. This collaboration evolved after weekly intense dialogue about art and life. On Facebook, Kofi and Dianne took it to another level, using the social networking tool, they responded to each other through what they have termed, “thread slams.” In association to the poems, they began a series of photographic portraits. These diverse artists were creating a new form of art originating in the vast space of the virtual world. Two artists from differing backgrounds, Kofi a theatre director and writer and Dianne a multi-media visual artist converse fluently through the two mediums of Poetry and Photography. Together they are two distinct voices as one in collaboration running parallel.

“A visual language of the liminal is exposed and shared in the guises and mannerisms of the artists. We are presented with their story of awakenings to themselves and each other. To observe the static moments so elusively missed by perpetual time. We are drawn into their world and enter their dreams. As man, as woman, artists and ourselves.” – Gaynor Evelyn Sweeney

Kofi Fosu Forson is an artist originally from Accra, Ghana. He has written and directed showcases for The Riant Theater. As director and artist for New York, Transvoyeur, he received a one man show in Liverpool, prints of his muse series, audio monologues and premiere of his video film Cushion Pill.
Dianne Bowen is an artist originally from Brooklyn, New York. Bowen’s work is exhibited nationally and internationally and has been reviewed in print, on line, film and radio, including: Art in America, NY Arts, ArtSLANT NY, and Art in Dialog Estonia-NY documentary.

Friday, October 21, 2011

Photographer Kofi Fosu Forson
Model in Collaboration Dianne Bowen

Photographer Kofi Fosu Forson
Model in Collaboration Dianne Bowen

IMAGES from La Rose Bleu
Photographer Kofi Fosu Forson
Model in Collaboration Dianne Bowen

Thursday, October 20, 2011

This is a test.

Saturday, September 10, 2011

Sex and Doom in a Failing Economy

Kofi Fosu Forson

History fails me as to when we as a universe were plagued by sexually transmitted diseases such as chlamydia or the commercialization of The Eros in antiquated art or further modernized in art by Picasso, Louise Bourgeois or surrealistically dramatized in DALI, Khalo and FINI.

This Revolution began with the birth of Rock and Roll. What was a term coined by blacks as "getting their groove on" started a new means of music hypothetically instituted by Ike Turner's Rocket 88. It was later commercialized by white radio disc jockeys as Alan Freed bringing a white audience to performances by black musicians. With television shows like Ed Sullivan many tuned in to watch The Beatles and many other rock and roll acts including American bands like The Doors. Much of this hilarity and euphoria was however censored as these flamboyant performers were told what to say and what not to say.

Movies like Black Board Jungle, Rebel Without a Cause and somehow To Sir With Love created an atmosphere for the youth to rebel. This was seemingly the first time in history when youth was commercialized with its sense of raucous behavior both sexually and violently.

In literature Norman Mailor, Henry Miller and The Beats, Burroughs, Ginsberg and Kerouac introduced a different kind of language spurned by the use of drugs and a heightened sense of sexuality. Matinee idols included ELVIS, James Dean and Marilyn Monroe. They were marketed as icons and brought a charge of licentiousness not only among the young but political figures.

This decade of the 50's as an allure and set as an example in Donald Fagen's NIGHT FLY talks about the future where there'll be "more leisure for artists everywhere". This is where we are where technology has principally become our means of communicating. Social networks as Facebook have made communication much more common among those living in different countries. As is evident in the sentiment within the album there's an element of doom. In a song entitled New Frontier the main character builds a fall out shelter where he has a time of his life.

The idea of Facebook becomes our fall out shelter as we fear not so much a nuclear war but rather an impending doom fueled by circumstances as September 11 and our failing economy.

So what is euphoria sex. The relevance of politics to sex is great in how evolution and moments marked in time transformed our sexual behavior. Once again history fails me in surmising what is love and sex at a time of war, economic depression or a renaissance. But with the birth of rock and roll and its lyrics of revolt and outrageous performance acts with their front men, Jim Morrison, Janis Joplin, Jimi Hendrix, people were inspired to copulate. Rock and roll was the drug among the actual drugs people were introduced to. Woodstock culminated this behavior and unofficially started the Sexual Revolution. Much followed in the following decades as AIDS in the 80's brought our sexual conscience to an end. The aftermath was the 90's and the introduction of sadomasochism to a popular culture, heroin and sex and the Barely Legal.

Post 9/11 technology and PORN, love, death and sex plus gender politics and the establishing of the post post feminist has brought an awareness which is more or less an acceptance that love, dating and the 50's Playboy bachelor and 70's Gloria Steinem feminist had manifested into Hollywood house wives and porn stars.

The circumstances surrounding sex now is a prison sensibility where men have sex with other men what is known as "down low" originally prevalent among African American men. As actor Jamie Foxx said "Everything starts from the ghetto". Society has been permeated with a dismissal of intellectual thought. Sex is as form of dry humping. Group sex is less tantric and more hilarious, a celebration of orgiastic behavior evident in centuries past. In this case it is less 70's cocaine and sex at Studio 54. It is much closer to stupidity as internet porn features beastiality and fecal behavior.

This means of nothingness in sex is the understanding that love has left what we know as sex. That the allure of the bachelor is now an example of anal sex on the first date. There are no rules. Internet porn is evident on television especially cable television where these television programmers are forced to compete with the internet. MTV has changed its programming completely as many of its shows revolve around sexual activity.

Sex therefore has become disease. This is marked considerably in the persona of the youth as queer culture an example of sexual freedom has resulted in primal behavior. The lives of most of these young men and women revolve around meaningless sex and outright violence.

In an interview with Kyle P Silvers, an editor with a newspaper at a Wisconson College admitted that 9/11 changed forever the lives of people among his generation.

That this euphoric sex among pre teens, teenagers, twenty somethings, the fearful thirty somethings, the future 40's and those who have been there done it all is a cause of sensational fear, virtual reality, technology, our failing economy and the supposed impending doom.

Like the fantasy of the old man with a young woman he'd rather be having sex the day the button is pushed.

Wednesday, August 31, 2011

What Do You Know About Punk
You Never Punched A Hole
Through A Mirror

Kofi Fosu Forson

New York City is our greatest experiment.

Collectively there are five Burroughs in New York. It starts with the greatest of them all Manhattan. Followed by what has essentially become the new Manhattan, Brooklyn, Bronx, Queens and Staten Island.

Manhattan is concentrated with a variety of cultures and has always been. Much of this was viewed as the burgeoning of what was hip and new, 6o's Beat Culture, late 70's PUNK and the New Wave art culture of the 80's.

A lot has changed then. Plans were made as far back as when Mayor Koch was followed by the city's first black Mayor Dinkins to curb the violence brought about by drugs. The 80's poverty and economic distress saw an increase in drug trafficking and everyday violence. The lower part of Manhattan, what is known as Alphabet City, was a dangerous place to be. Uzis were fired even during the afternoon. Many dared not enter Alphabet City.

Mayor Guliani took credit for the cleaning up of New York, its subway system, day to day violence, pornography in Times Square. Post 9/11 made New York an adventurous place to be. Many who had helped cultivate the city's integrity left for other Burroughs or cities all together. A lot was done by many groups to keep the raw art content in the lower part of New York. But with the increase in rent many of these artists couldn't afford to live here.

What we have in the downtown area of New York are groups of well to do white patrons who can afford the rent. It has become a sea of young white groups without the integrity or culture of those before. Somehow many of these people are diseased by money and are left without the history of what made Greenwich Village a neighborhood legendary.

The subcultures of New York can be found among second generation Italian Americans, Russians and Greeks. Among these who live in mostly Brooklyn and Queens are Portugese, Asians and Polish. African Americans and distinctly those from Africa tend to live in the Bronx.

Intellectually it is divisible between Jewish intellectuals and African American intellectuals. Most of them have migrated to Brooklyn leaving Manhattan for moneyed people less of culture, Hollywood actors who own lofts here and live between Hollywood and New York. New York University and Columbia University students represent the core of its intellectual young.

The European influence is great. This can be found within the share of those who decidedly live an intellectual New York life. As opposed to those who find a core of their influence from Europeans who pass through New York.

I've gone through a phase of meeting and befriending Europeans who visit months at a time. My first lover was from Milano, Italy. My greatest affair was with a German woman. I find that most New Yorkers from other cities in America, prominently those from the South and others from international cities appreciate me more. Even people from outer Burroughs like Brooklyn value my raw nature. Those from Manhattan are viewed as too privileged and full of themselves.

As an intellectual African they view me as different and open minded. I've benefited in knowing Polish, Israeli and Eastern Europeans. They have created a strong center in me, a sense of character and love and respect. Much of this can be found in the art world.

Currently brilliance in language is spoken by a chosen few. Many of these live idle lives separate from the struggle that is the art world. The artists cultured in the modern art world are similar all over the world. They live the stress of art and its advantages of money, drugs and sex. Much of this is concentrated in a crowd of people with limited passions. Art is more or less a strain.

The relevance of the European influence can be found among those who welcome the European philosophy on language. It provides one with imagination an open mindedness which elevates the conscience of an artist who lives in New York.

Just like the Hollywood person who visits New York, the Off-Broadway actor who ventures to Hollywood, the Independent director who hopes to make it to Hollywood or the European who ventures to New York once a year, New York artists who welcome a European philosophy become more intellectually attractive.

Monday, August 22, 2011

PHOTOS from album PARIS, Tennessee
MODELS: Kofi Fosu Forson . Dianne Bowen
PHOTOS by Kofi Fosu Forson

Sunday, August 21, 2011

What Do You Know About The Future:
You're Not a Genius

Kofi Fosu Forson

If I knew beforehand that this was going to be the future I would have been a little disappointed. Essentially not much has changed along the lines of the human condition. We feel and we love. We hate and we long for. Although what has emanated from this nature of reality television and what Andy Warhol envisioned as 15 Minutes of fame is a means of entitlement.

This sea of wannabes and potential nothings feel they deserve something, an entity I fail to understand. Much of this upsurge stems from the younger generation raised on post MTV, technology and the internet. Circumstantially they have everything they could ever want.

What is missing I feel is the literary and pronouncedly hot sadomasochistic notion of art and sex. I honestly felt the 90's were a decided uplift from the death of sex. With every death comes a new understanding and what the 90's became was a mirroring of the Beatnic 50's where language was seduced and massacred. Writers like Kuruoac and Burroughs extraordinarily took language to so many different levels.

The essence of the massacre is outrightly sadistic. The nature of Burrough's work stems from the sexual psyche. This is what made writers like Henry Miller. The essence of the brain as muscular breaking down the barriers of love, sex, fate. The 90's was a continuation of this and how heroin and sex, the introduction of The Barely Legal into popular culture, the post feminist authors like Camille Paglia and Naomi Wolf, novels like The Poisonwood Bible made language essential to life.

Once we surrendered to the BUSH philosophy much of this was replaced by government action which permeated everything we did some would say even the water we drank. Where we are now is a world where anybody can be somebody.

What is the literary model now. How is morality upheld. None of this is apparent as we live in a world with no intellectual approach. What I had always envisioned the modern man to be is a person of intellect and sex. F Scott Fitzgerald established this with such excellence later enhanced in the novels by McInerny and Easton Ellis.

So the idea of modernity was always envisioned with sophistication. This was evident in music, art and sexuality. I think back to Donald Fagen's Nightfly. An album steeped in 50's perception of the future. In it artists would be adjoined internationally in thought. That is what the world has become a virtual place. Social networks like facebook allows for such a condition. Many fail to see the possibility in this as much of this world becomes a place for meaningless fun.

It can then be said referring back to my original thought that not much has changed. We therefore depend on those who continue to encourage thought and advancement of language.

The internet has certainly become the place for that. The programmable thought thus then becomes a virtual thought as fantasy has been made equivalent with the real.

Hence the virtual is real. In a hyper David Lynch surreal sense of the world the imagined Blue Velvet is a real world.

To live within the notion of giving life to a thought and envisioning a world for oneself is where we are in life. But this is only pertinent to those with an exceptional imagination.

It can then be said this modern world was made for the gifted, the extraordinary, those with a gift for envisioning a unique world, a world they manifest from, exist in. And much as those who inhabited the Kafka- esque psychological trap and circled philosophy and lived a literarily modern life, the future belongs belongs to the genius.

The genius benefits from this modern world. Cultural thrashing and circumstances surrounding symptomatic madness in politics and sexuality is a source of inspiration for those who think for those who transform themselves. That is what we did with AIDS. The 90's became a rebirth.

This virtual landscape of internet porn and dismissal of intellectualizing will and has resulted in a backlash. Those who emerge from this are geniuses.

Hence the genius is not a fat woman who dances to New Kids on The Block on Youtube.

The genius is cult.
Dear Readers of Black Cocteau,

I want to apologize for not posting for the past several months to what seems forever. I've been a participant on the social network Facebook. I seem to get more of an immediate response from the public once I post. I am able to share in a thread meaning one two or more people engage in a conversation as a reaction to my post. I have come to realize my blog Black Cocteau is not so much about an exchange with the public as it is a chance for me to express my thoughts on language and beauty along with a variety of topics which reflect my opinion on culture, gender and sexual politics. In doing so I gain an audience of people who share in this philosophy.

So I hereby return and continue with this very blog hoping I haven't lost my core audience hoping I make many more.

With Regards,

Kofi Fosu Forson

Friday, June 24, 2011

Please click on the following link to see my interview with legendary graffiti artist and world traveled artist LA II for Whitehot magazine.

Sunday, June 12, 2011

Please click on the following link to see my interview with Ethan Minsker published in Whitehot Magazine. If not cut and paste the link.


Friday, April 08, 2011

The Human Marriage
Art Stars in Love

Kofi Fosu Forson

I don't think I can survive a human marriage. Some how I am content with living alone. But then again that is my greatest fear to grow old alone. It is fair to say people get married for comfort and security's sake. I have never been good at having the normal relationship with a woman. Dating is not something I did. Even the functional aspect of having an ordinary and healthy sex life was not something that was regular in my life. The one very true reason why I would want to marry is to become a father. I certainly can achieve this outside of a marriage. In other words the only reason why I would want to marry is to have some one near me as I grow older. What would be more probable is a life partner. Marriage then becomes a business proposal. The politics of it is what keeps me away.

The main objective of any marriage is that of two people in love who want to spend the rest of their lives together. I'd imagine the most important aspect of this would be the two partners falling in love. I don't think I'm normal with respects to how I deal with women. First of all the most adventurous times I have with women are during our participation in art projects. Otherwise I befriend them and I am a good friend. I've had two crucial relationships with women as lover. They were very involved in terms of the intensity. Other wise most of my relationships with women are with art girls who given time spent together I hoped and wished that I get lucky one day.

My problem with marriage is that I'm not used to the typical women. I find dating to be a waste of time. I enjoy more so the frivolity of going out with a woman not knowing what to expect. Also in conversation with a typical woman conversations tend to be difficult in the modern age. I tend to attract neurotic women or those in distance from the city. Women on a given day expect a certain kind of man. A man adventurous in thinking or perhaps more sophisticated challenges the woman. Most women prefer a safer man.

Through out history there have been couples who may have suggested something contrary to what people normally would expect. Marilyn Monroe and Arthur Miller. Or any number of art couples who exhibited an artistic disposition. There have been men who peculiarly seemed unlikely to marry. Some of these men were artists, film directors or musicians.

Quinten Tarantino and George Clooney are two men who live such passionate lives. It can be said that the modern day bachelor finds it opportune to sleep with as many women as possible. Since the discovery of the Barely Legal many men have left their marriages and are sleeping with younger women. There's also something to be said about the divorce rate and why people marry to begin with. Some where in the 80's it was cool for a woman to be single and have a child. This was normal at the time. The yuppie woman had a child out of wedlock. There's a stress now for women to meet men or what would be supposed as the right man.

I fantasize about having an art star relationship or what is known as the Hollywood couple. I like the idea of being a hot and consciously aware man with a foot in the art world who attracts a stylish woman with intelligence also creative. The 1980's were full of couples like this. The East Village of New York spurned such a creative burst that many artists found it easy to date other artists. Most of these art couples were fashionably dressed. They looked good together. This in a way was a priority. People don't marry because they look good together. But in a way I dream of a woman who has the same style and notion of accomplishment as I do. This seems like a fantasy but I do think given the way I present myself it would be wonderful to meet a woman who is from the same hypothetical world as me.

Friday, April 01, 2011

Tie Your Mother Down

Kofi Fosu Forson

Earliest memory of my mother and me is that of my 4th birthday party where my younger brother and me both of us sharing our birthday in the month of May were surrounded by a cast of people including distant family members and friends.

My mother's name Eva is somehow derivative of the Biblical Eve. At least I see it as so. She is stark in her beauty. Somewhat of a threat juxtaposed her brilliance and intellect.

Much of these memories also include time spent alone with her whether going to church or driving to market in her red Datsun. She was always mother. I felt her as nurturing and available to my emotional needs and that of shelter.

Having moved from Ghana to America to be with my father our relationship took on different proportions whereby she was torn between finding a career, rekindling her role as mother of four sons and being a wife to my father.

Soon enough complications began concerning peer pressure from those I went to school and that of societal pressures emerging from pop culture and cable television. My father was frail in assuming a leading role. He was a demonic figure in the eyes of my friends. My mother was the one who embraced most of my classmates.

Sex on cable television during the early 80's was very visible. I slipped into the living room when my parents went to bed to watch shows like Interludes After Midnight and Ugly George. My mother serendipitously walked in on me one evening. That moment and catching me with an adult magazine and chastising me affected my sexual growth.

Independent of the rest of the family my mother and I had a torturous relationship where we fought. Our dueling egos usually ended in conflict and argument where we fought or she scolded me. Ironically I was always turned on sexually after we fought. In order to relieve this stress I would have to go to her and faun on her where I would apologize and accept blame.

Soon enough I gained an important role in her church as a regular reader and participant in functions. The church members embraced me as her son. They were used to seeing me at church every Sunday.

During my last year in high-school I had an emotional breakdown. I was diagnosed with depression. After weeks of not knowing what was happening to me and knowing I was loosing my mind I went to my mother for help. She said they didn't believe in psychiatrists and left me with no hope. I wanted to and could have killed myself that night but I didn't. I bravely went to school the next day and a teacher brought me to his office and started me on a life long series of therapy sessions. I look back now on it in pain and indeed realize my mother was a savior.

During these moments when my mother and me would sit and commiserate I gained a friendship but at the same time I became a sponge for her emotional dissatisfaction with my father. Our relationship became almost romantic as some people thought we were a married couple. I woke up in the morning to drink tea with my mother. The conversations we had were legendary. They have encouraged a sense of talk and conversation in me as professional.

In retrospect the circumstances surrounding my relationship with my mother was certainly that of love. There was a sense of neurosis perhaps oedipal. In a way our egos clashed as a form of attraction, empathy and strange lust.

Saturday, March 26, 2011

Photo by NYC Artist Dianne Bowen

Wednesday, March 09, 2011

PATHOLOGY of The Artist Mind
Ego, Libido and LUST

Kofi Fosu forson

The artist in existence first recognizes himself as he makes use of language as a written text, given its signifiers and how they are manipulated. This in a sense showcases a sense of philosophy and articulation of language not only in art but as a device with which the artist presents himself socially and in public.

Somehow the artist is not merely an artist but a human person who feels and emotes love. The balance between the human as a sympathetic and empathetic person along with his role as an artist, some one who thinks and acts on his thoughts pathologically but foremost the instinct with which to create art.

The artist ego is prominent only in that he is sensitive to nature and it allows him to perceive things which are in a sense sources of inspiration. Once removed from this particular ego he is forced to hide within the notion that he has talent. At times it is enough. But in a world of competition outside the society of artists one has to deal with money, love and sex.

The ego with which the artist exists within the world of other artists isn't proportioned to survive the human life. He must then manifest an ego which is superficial. This can be found in hip hop artists who tend to boast. Once the ego is presented and actualized the artist is able to compete in society not only as an artist but as a person equal in stature if not superior to those who are less of talent.

The libido of the artist in the modern sense is seen as functional in ordinary terms. That the artist is made employable by his art and seeks love and romance like most people. Much of this can also carry over to the neurosis of artists like Van Gogh and Ego Schiele. This perception of the libido is an acute one. It is heightened by the thought of the vulva and how sexual desire is derived from the vulva as made symbolic in art and sex.

Meaning to function as lover one seeks a partner. The discourse then leads to a sexual encounter. But in Van Gogh's case it is more or less a matter of psychology and neurosis. The dialouge becomes less gender related as it takes on matters of madness and sexuality. Schiele on the other hand was prone to seducing young women. His libidinal energy was transferred into his art. That the seduction between him and these women were an act only that it met his need as an artist.

On the subject of art and sex I find myself now having rebounded from the very neurosis of Schiele in particular. Years of chastity has helped me address my dual roles of lover and artist. Whereas it seems probable that the intensity with which an artist loves can be combined with the work he does as an artist, made me think otherwise of how I seduced my muses and how at once we still managed to make art. I found it necessary to separate the two.

The role of the artist and muse within a discourse of art has changed now that the art muse is a sex muse. I found in the detail that it was best to court a muse separate from the art. After many difficult attempts to work with the muse free of sexual contact I have succeeded some what. As I am now in meeting with a woman less a muse and more an intellectual equal.

During a photo session when she approached me unusually close I felt a sexual sensation wanting to touch her and grope her. This was immediate and within the moment but it passed. For me this was more than just a libidinal moment but something more relevant to the language between both artists and how in mutual respect I didn't act on my feelings.

After years of practicing chastity I see now that I feel. I am still sexual. If only more articulate with respect to my partner.

Over all I have cleansed my self of the neurosis as I am able to view women with respect and not as sexual objects. My situation then is removed from the nature of most men as mine becomes more situated in my neurosis, role as artist and that of lover.

Friday, January 28, 2011

Love by Assassination
Kofi Fosu Forson

We came from assassinations king and queen of cunt
Let desire be tattooed punk blonde coiffure in white gown
Kitchen goddess ascend mouth the word demonology
Pussy valor wire bound denominated as Masoch mistress
In this kingdom we are drugged dogs under influence
Longest journey took to kill what propaganda death
That our bodies imprisoned in coffins was romantic
Voluptuous serial cunnulingus Fassbinder fountain
Oh St. Christopher who among these animals cursed
Beautiful men Tahitian things transformed gorgeous
Sharon greetings to your belly I remember it well
Earth mother Gauganesque yellow water in a bowl
Make suicide of morning drink the East River dry
Pull me into womb of earth suffocate these memories
Bury then that once we were wise capable of love
The day of your birth we became murderers
On a middle class bed we tormented each other
Fought our flesh disposed of sweat struggled to live
We had awoken a ghost embraced and died

Sunday, January 09, 2011

Neurosis of Self
Manifesting from the Sexual Edit

Kofi Fosu Forson

The beast that is man is prone to love but he also can kill.

Circumstantially most men are in constant turmoil shook up by a means of turbulance. Functionality is the basis under which men find for themselves a life. In this day and age under the uproar of technology and pornography a man can be content with just being alive. The living status free of any regulation is enough as there are plenty to keep a man occupied.

At once pornography was an extra curricular that kept the minds of men at attention. This played a part inbetween relationships, employment and other sporting life. As of now technology provides one with video games, texting, tweeting, blogging and activities on social networks.

Used to be a man was a hunter. With the nuclear family he was a family man, employed. Post Heffner's Playboy, the spiritual and sexual 60's and disco and cocaine of the 70's, the single man lived a life of bachelorhood. This allowed for a fun loving and free spirituality.

The A.I.D.S. ridden 1980's would have suggested a readjustment as to what the male in society was becoming. Street culture with its sex, drugs and violence awoken the minds of some. This was revealed in music and art. The conglomerate 90's had cleansed the idea of the neurotic being. Intelligence in a heightened sense promoted writers like David Foster Wallace.

We as a society were undergoing an intellectual enlightenment. What we saw in the first of the 2000dth decade was an example of the death of this. Basically we were dumbed down to the point where we were to think one hour intercourse without the male partner orgasming was a sign of potency.

That we emenated from a world of philosophy a la Roland Barthes or great American writers like Faulkner didn't matter. I firmly believe the likes of Foster Wallace and Alexander McQueen killed themselves because society refused them the right to live up to their very own choice of excellence.

What I've done for myself in the past decade is address my sexual neurosis much the same way an alcoholic addresses drinking and a drug addict addresses shooting up. This sobriety has allowed me a chance to be free intellectually and concentrate on the detail of love.

Internet porn became available to many in the late 1990's. I much like others out of curiousity spent many hours looking at porn. I went as far as to use some of these images to inspire my art work. At this time I was directing actors and actresses at a local theater. Pornography tends to numb the senses. It creates a sense of sexual euphoria long enough to deaden the libido.

I became much the sexual zombie working among these actresses. When the opportunity presented itself I seduced some of them. This continued after I left the theater and started working independently. The issue of gender politics was popular in society as the female was taking on a new role. Basically I was torn as to whether to continue to sleep with my muses as some of these situations were precarious.

Having had a sexual neurosis and needing to address the issue of my muses I chose chastity. This was a difficult process. Most of the men I spoke to would have rather slept with these women and defaulted the working relationship. The idea of having to say no to sex for the sake of protecting my art has made me the man I am.

Currently I am willing to resume my so called sex life. I yearn. I urge and I lust. It is however controlled and healthy. It is more of a consciencious look at sex not something where my sex organ speaks for me. As a man I am at a will to sleep with women but now it becomes an issue of karma, the psyche and the kinds of women I attract not to mention how women and people percieve me.

It's a great place to be as I am intellectually prone and conscientiously driven to fantasize about women. Self stimulation doesn't and isn't a replacement for actual intercourse but what if... what if I exist within the balance of the virtual and the real.
What becomes real? Do I need a woman spread eagled to perform on her? Does this define me as lover? How does gender politics come into play? Would it be probable to find a so called whore or street woman? Is it possible to redeem ones self from the physical act of love making? Does it not become par for the course?

So I live my life conscientiously aware that I am a lover capable of making love. And life circumstances will define this. But wouldn't it be more suitable to find someone who loves me and not be bent on fornicating.