In the following pages are chronological selections from my notes and journal entries, mostly from the past six years, but with a few from as far back as 2004. What struck me about these early entries (besides the humour of it all) is the already visible elements of my current artistic persona: an interest in violence, frustration over the state of the world, and a desire to hijack language in favor of the poetic and surreal. One can trace through these pages the development of what I term "Savaje Patois," begun as a private means of expression combining Chinese, German, Spanish, and English, and expanded into a defining concept of my work. Now, the patois is not only made of languages, but of all conceptual thought - mathematics, theories of the social sciences, visuals, etc. I decided not to translate any of it, nor to give more explanation than these few short paragraphs; if it is incomprehensible, so be it.

It would be an interesting, though doubtless impossible task, to create a mathematical graph chronicling, for each member of the human species, how the increase in one's technical skill and armory of intellectual knowledge interacts with that elusive energy one may term raw creative impulse, or perhaps "soulfulness." Of course, the variable are un-isolatable, and even if they were, to isolate them would be to fracture the unity of the cosmos for the convenience of analytical thought - to dissect a corpse in order to understand its action in society - an act of the Cartesian-Baconian tradition the idolatry of which constitutes the central epistemological fallacy of modernity.

In any case, most of my neighbors on Earth never had the chance to release their creative energy, and suffer, unschooled in the grace of the creative impulse and too often confusing it with the destructive one. So I release these pages to the world immeasurably grateful, not for a life free of suffering - for this is a fate no amount of privelege can make one immune to - but for the chance to have gotten to release my suffering through art. And by now publishing them, I hope that, in my resistance to that plague of divisions erected between the sciences and the arts, between nature and culture, between the earthly and the magical, it might have an ameliorative effect, might steer us away from that hidden violence - much of it conceptual - that undergirds our global society, and remind us of that most simple yet complex of all truths - that we are all One.

August 2019