JAMES' SENTENCE

There are far more bristles on each of the many brushes fabricated and individually choreographed, one brush performer scaled to the size of its canvas per painting or painted panel, than there are words in this sentence attempting to report about one such brush tracking a seemingly seamless movement viscerally embodying the unity of the sinuous swirls, turns, arabesques, churns, swipes, and meanders of the artist's hand with those of the stream of his consciousness, so that each bristle acts as sinew and synapse congealing into a single diaphanous figure of lyric dignity whose rayonant monochrome bristling with constantly fluctuating and flickering chiaroscuro reflecting the degree to which the brush is loaded with paint and the varying pressure, speed, and directionality exerted by the maker transforming the iconic figure of paint into a photographic X-ray of its liquid skeleton, while the single point of this writer's pen additively alludes to Nares' enigmatic illusion of simultaneity pushing us toward a brush with grace.