English narratives for the video


that was presented at the Lectio 2014 by Dr. Sutton



Rum, rum, where's that sent the roll, and pass it on to the back, not everywhere.
Oh, ho, it dropped. It can be like that, just smaller. There is no need to always be so terribly strong, as long as strong in some way.
Yes, it has strength, it has strength. No, I mean yes, yes I need it more. Place the
white here as to be a friend. This is good, Finnish girl, Finnish paint. The colors from
Finland are good. Yes, I think that I like it here as well. White. Yes, white is pretty
nice. What I could do, to take for me over there a little bit of blue, such about right.
I just borrow a little bit from a friend. Yes, I'll take the blue from there. Not too
much from that jar [humming]. A bit like lighter pastels. Not everything needs to be
so hard, strong. It may therefore be more fragile [humming].



That center is somehow an important center, from which comes the power and
the strength, and everything sort of connects its motion. Dii, dii, daa, di, di, daa,
dum, pam, pa, paa, tsuu. Such like that, yes it became a smash. There will be a puu,
paa, poo, im, maam, maa, yes with a palette knife I can create a nice mush. The thrill of speed and the synkerö-smush, sönkerö-smash are there.
And then I realized I have one orphan area, which says, I do not want to be
alone. And, it wants to play also. It is good to be alone, and my middle dive wanted
to continue to the yellow corner... But rather, it wants to continue here. Is it there
between two friends. I don't know how. I would like to connect or to isolate. Since
we are all different. We need to be separated, to be in our own bubbles, and not be
all the same. Well, we are in a bubble together, but we can be separated. Is this the
work of the isolation? Isolation here and there, hmm. Now this empty space makes
me wonder. Can it be so empty and separated? Yes or no, it's liberating and effective, that there is the emptiness. Empty. But if it is so, then I can leave it there.
Now, I have some issues here, I don't understand how I should do this. Yes, I
can always paint with the white, if I want to create more emptiness, but then it's
unnecessary work. If I just twist and work, if the hostess is doing too much and
then it is wiped off. It is unnecessary work. With Zen art nothing is erased and all
is made with the emotions and accuracy. And up until now I've had it, the accuracy.
Is this now the end of the accuracy? Is this the final end?

The ninth video: Rum, rum, where's that sent the roll, and pass it on to the back, not everywhere.
Oh, ho, it dropped. It can be like that, just smaller.
There is no need to always be so terribly strong, as long as strong in some way.
Yes, it has strength, it has strength. No, I mean yes, yes I need it more. Place the
white here as to be a friend. This is good, Finnish girl, Finnish paint. The colors from
Finland are good. Yes, I think that I like it here as well. White. Yes, white is pretty
nice. What I could do, to take for me over there a little bit of blue, such about right.
I just borrow a little bit from a friend. Yes, I'll take the blue from there. Not too
much from that jar [humming]. A bit like lighter pastels. Not everything needs to be
so hard, strong. It may therefore be more fragile [humming].
This one I now painted without any theme. It will bring, but, quite wildly and
freely. The first project, it was Puukansaa theme. It was the first with the theme, and
I feel that I spoke a lot more when there was a theme. Now, the desire is to try, it is
quite free, spontaneous and free. Could I also paint like this? Do not have as many
shackled themes. I did not know till today what this will be. But not produce, as long
as I paint and I'm trying now, but that I did not till today that my head spins when I
paint. I did not know anything else came up. I tested it now, now I tested it.
This brings to my mind the kind of snow and ice. I could put more, hhm.
Snowballs maybe. Went too much, that appears suitable, perhaps too obvious. I
always want to cover up, don’t I need an excess of clarity to be in this task. There, I
see there was too much. Then there is the light blue, is painted. It is a snowstorm,
snowstorm. What could now be white jar out of the range of control.
Okay, I wanna put the yellow one there. I noticed here is the hole, which requires
that yellow, there. Da, di, daa, da. There is another small orphan hole. A little on top
of it too. Wait a minute, orange, hmm, mmm. Orange is like a warm summer. The
summer’s warmth needed to replace the cold snow, to counterbalance. Just a little bit
of orange here. About, and let’s give it a hint a little here below, for this spot. Well,
not too much and not too little. That is somehow, that little stub stands out from the
painting, all done, it is a stoppage wall. In order to place something at the end. Ah,
the end was somehow interrupted.
Ah, then I got tired in my hands—whether to have a little exercise break? I'm
starting to get tired. The bunny is getting excited when I am swinging around here.
It's all right, all right. There is a bit of that, if anything still can be added. I can't
really do anymore, it is dried. I might put some green in this yet. It affects someone,
I do not until today what, someone was there, which was not the right one. There
was something bugging my eye, so I will paint it green. It became a hat. Feather in
the cap, that too. Ahh, hha, here it is so cold, so a bit here too. Not much, not too
much [humming].
Correct, correct, correct, ahaa, I've got a feeling that I need in here some white,
I mean, therefore, it should fit under the red arm. I need in here some white. That
plus the orange, then not too much orange. And then I guess the paper, as I can't do
it that way. There will be a haze. Mist rises. The night's mist, the evening mist. Ba,
dam, bam, bam, pa, ba, da, dam. Hmm, hhmm, okay, and now I could take a break
(recording time 29:42 minutes).

The eight video: Okay, now I will just start, dam, dram, dram [whistling], what color comes to mind. What color do I want on this? I like that and that. I like to throw things. Okay, now I start. Perhaps I should take new colors, orange, hmm, hmm. Is there a need for an orange? Maybe some of that there ok, dam white. Softening on the corners. There, it should not be too hard. Soften it. It comes softly, but not too drastically. Add some soft, orange for this. I think that, it's always the one thing that comes to mind and then it just changes. Let’s put this that way, hmm, hmm. And then a little bit of white. Softness, the softness of the wind. Let’s add something with a stick. It shall be a storm, or softness. So it goes on, there. Okay, it came there a kind of nice, pyms, a soft orange. Now let’s get some new colors, experimenting. A new color can be found here. Well, now I need to find a new brush for this color. I do not want too much of those new colors. Must not be too strong. But I want to put this here. It reminds me of pear ice cream. It reminds me of summer. And it came to my mind, when I interviewed the artists in my master’s thesis, that they said that while painting, usually all kinds of ideas show up. And can I think that when painting, it is kind of a clearing of the head. And then thoughts come in and then one chuckles to them, and makes a fuss with the ideas that show up. Well, and yes those ideas sometimes make one cry. On this I want to add white. Not too much. The white feels, I could put yellow but somehow I desire to use the white. These soften the edges and a bit of doing this kind of opening here. It is so small so tiny, the storm. This white will always get muddled with other colors. Let’s wipe there, so white stays white. White on white, yes. He is there my pear ice cream. Feels that it's obviously a white vanilla. It is an orphan, hell, all alone. It is there. I need something good, I need something here. Here for the friend of red, this one. This reminds me of summer. Red berries. And this is not just a green spring, but this is now something. What could I think, that will be a kind of summer, wild feeling, yes. There is that summer. The summer child I am, wild in my nature. Here the summer and the pear ice cream. Softened these ones. So it is there. On this I could still add something. Yes, this is a completely different thing to do than when standing and painting on the wall. It is the paintbrush stuff and less playing. When it is on the floor, then it is equal to playing with charms. And when I look, ah. What's here now is somehow well. Now here came the issues, and when problems come I just have to keep working. The clear would be good to put here. Can I now? Well, it came to mind first, so I'll do it that way. I feel this way, so I let myself feel that way. Yellow and orange, here is the warmth of the sun, heat and tenderness. The heat and tenderness, well, there could be something similar with the two. Then more red here. Soon I will put some white here. Oh dear, or perhaps I should first use white and then red. Pretty well this will be more white than I first thought. It does not matter now. Not that it ever needs to be so tough, to be that, this is how it should be. No it does not. Then I'll put some red. Will I take the big red? Let’s take the big red. Let’s paint on top so it can have a friend. Not too much, but beautifully. A fancy red. Somehow it is not strong, this is not a strong red. It is a stronger red, while it is splashed. Let's put a little bit more. I do not want too much. Okay, a little yellow, yellow. Does not go too red. Here's how to get it to work better when I wipe it with paper. I can get it to work better. Perhaps then I will add in the yellow. Let's see then when it softens. Somehow it softens and leaves it with you when is yellow. Yellow can then just keep going. Well, yes to keep it, so it stops. Nicely displayed under those paint splatters, forms of yesterday. Here's how I paint. Look again, it seems. At the low desire, combined with that. They are so different from each other. There, this is okay. This must be from Finland, this is that, if I like meeting or whether to take out. And get on with the paintbrush and a deep border. Here's how it is. Let’s take a common blue design. Blue is not a bad color at all, no. That's where it strikes towards the yellow burst of fire. The central light yellow, plunging into the fire. Well, now comes to my mind, the Swedes. I need to make it more green. So that it won't go into Sweden too much . Warmth of this system. Yes, if someone is not satisfied with the color, it can always be changed. Here is more, yes. There, there the blue is lost. Ahh, then, then, there's the problem of uncertainty. So, to do it softer. Around it was too, okie dokie, haa, aah. What is missing from all? This issue is still not correct for any clarification. This is very vague and confusing. Probably a good point to begin to stretch. But they do not already have one risk that too much to get to fill the emptiness. It must be in the emptiness, but I should let it be.  I'll take that red, I'm just a tiny bit too much. here I need kind of a red, a little dot. About instantly became a cozier feeling. Yes, the need for more red, da, da, daa but yes. Thus, a little bit energetic red, yes. It is just like I'm on drive. Yeah, it could then probably, but it is coing to continue the journey. Kukku, luu, ruu, there he is, yeah. well, I don't know. Da, daa, okay, what I know is this. The middle shading on this is ok. It's ok. But something is missing. I think the lack of red. Here's a little opera. Da, di, da, di, da, du. About a little and so. I could make the same lovely movement power (recording time 18:19 minutes).  

The seventh video: Uh, now I got the feeling that ,when I put that fabric on the wall. Now, I want to,
I have to look and add more colors. I have these basic colors: yellow, blue, and I have
some white, and also some red. In addition to this I would like to mix in this jar
some orange. I have a feeling that today I want to make some orange. The best stage
is when I get to mixing the colors, they will move so beautifully when they are mixed
together. There, now it is a pretty orange. Then I desire to do so. I wanna try to make
green. This green might not come out so nicely, but if I put some white in it, the
color might become a softer color. And then there will be a pastel kind of green, so.
Then again I will mix. Well, it goes maybe like this, so. Not bad, hmm, mm. Yes,
pretty interesting. Let's make that one in the same way. Works better this way. Yes,
a lot better with this kind of mixing. Okay, I have my different colors here. I shall
wipe those edges. So it doesn't dry when I put it on the wall. Yesterday I painted a
lot with sticks. But today, when I paint on the wall, I’ll hold onto those paintbrushes.
The sticks can also be there, if I feel a desire that I want to use the sticks. Yes, there
are smaller and bigger. Now let’s bring the water cans here and the palette knife is
always good. There we go. Turned off (recording time 4:14 minutes).

The sixth video: I need to put brush onto it. Where are those brushes, well since I can't find
them I shall test another thing. This kind of a roll, how does it work. That's how it
works. There will become a kind of soft red. Okay, I have to stop, I don't know what
it will be. I could put a bit of white here as well. So, it is kind of a roll paint, hmm,
mm. Around, around, and it went like that. Now the first splashes are done and
now I wanna put this one there. Let's do it with a stick. I thought it was somehow
disturbing the red here, this makes it fit in with this white, yes, it fits in better. This
gives it a dusky and a mysterious aspect. It is not such there, but one has to think
that what it is. There is no clearness and a boredom, there must be mystery in life,
isn't that so. This is the way that mysterious writings come here. No one knows what
will happen. Only the mysterious messages coming here. Iu, iu, iu that's it, that's it
our sign. Oops, jars are gonna crash. Okay, it is there in that way, then. What then
[burping], coffee will do that. It is heartburn. The bunny goes wild at night. It is a
night animal, is it not?
Well, how do I want to continue, here is still a lot. What could I do: more this
and that? I was wondering, can I create something with my hands? I am in this way
and in this way. I could add to it. It wants orange in it. Yes, I could harshly make a
pretty orange. I will take two cans here. I pour there a little bit of yellow, and a jar
next to it, and a tiny bit of red. It's like an egg, and shall I do an orange color next?
A palette knife is for assistance, so that I can create the birth of an orange. Things
happen when they are allowed to be born, mm, hm, um, da, daa, daa. Come here my
darling orange, orange, hmm, mm, hhm. Here she is to be born to us a wonderful
color. It is not the world's best. I think it is, the orange seems to be the best when I
add some other color, as this is a drop. So, hoo. So, okie dokie, haa. He is daa, daa,
come, hmm, mm, di, di, dii, did, id, dii, hmm, mm, so. It occurs when it is allowed to
be born, mm, hm, um, da, daa, daa.
That center is somehow an important center, from which comes the power and
the strength, and everything sort of connects its motion. Dii, dii, daa, di, di, daa,
dum, pam, pa, paa, tsuu. Such like that, yes it became a smash. There will be a puu,
paa, poo, im, maam, maa, yes with a palette knife I can create a nice mush. The thrill
of speed and the synkerö-smush, sönkerö-smash are there.
And then I realized I have one orphan area, which says, I do not want to be
alone. And, it wants to play also. It is good to be alone, and my middle dive wanted
to continue to the yellow corner... But rather, it wants to continue here. Is it there
between two friends. I don't know how. I would like to connect or to isolate. Since
we are all different. We need to be separated, to be in our own bubbles, and not be
all the same. Well, we are in a bubble together, but we can be separated. Is this the
work of the isolation? Isolation here and there, hmm. Now this empty space makes
me wonder. Can it be so empty and separated? Yes or no, it's liberating and effective,
that there is the emptiness. Empty. But if it is so, then I can leave it there.
Now, I have some issues here, I don't understand how I should do this. Yes, I
can always paint with the white, if I want to create more emptiness, but then it's
unnecessary work. If I just twist and work, if the hostess is doing too much and
then it is wiped off. It is unnecessary work. With Zen art nothing is erased and all
is made with the emotions and accuracy. And up until now I've had it, the accuracy.
Is this now the end of the accuracy? Is this the final end? Perhaps I should take a
tiny canvas. Now I pull the big canvas on the side. Altogether, am I sure, yes. I pull
this canvas to the one side and start the second canvas. Let’s have a pause (recording
time 38:48 minutes).

The fifth video: Let’s go, now it's recording. Yes, here it is, this is my big canvas. So, my toes are
here, and it is such a big canvas. Perhaps I should let the bunny jump here, it would
make some awesome tracks. Just like that. This bunny's activity does disturb me.
Listen bunny you cannot go on that box. So, I have to move it into the booth. Okay,
now the bunny is safe, I can keep on painting, hmm.
Well, I need to have some space, I want to move around everywhere, da, daa. And
a little bit jumping like this, and I can go out there. I have finished my coffee. What
color do I feel now? What is my color so I can start. I keep trying to speak with a
loud voice so that this camera can record it. I think that I'm talking too quietly. Let's
put the camera next to me.
Then I just have this feeling that, it is moving towards red. That's what it feels
like—red. These are now these movements here on the canvas. Yes, they can be seen
and they can be followed, if I want to. But, there is no way that red starts from this
direction. The red starts from here and there. It is the line of red. And if I start. The
blood is running, the blood is coming, the blood is moving. Life, death and love, like
this. She wants to leave, she lives in red, to give a birth, to the death. The color red I
can take, give birth, die and live. It is this life.
Damn, oh, ho, now I spilled on the video camera. This is bad. The paint went, yes
I'll lift it up. And I'm talking loudly. It had a little break here. But it doesn't matter.
The red is created here. From that dark, from that gloomy dark to become there.
But she must keep going. She does not remain in one place to live, but leapt, and
continues a small curly trip on here. What does she do, and where does she go? One
cannot know. It has its own life. What went and went and took a little shook, shook,
there and here, haa. It is, however, a fine red, as you can see. She delicately takes the
red. Now we need to take another color. The red was there.
And all this will be calmed with our little blue. The blue is for the life and hope.
That life. If I want to hope for, so where I would like to place the hope on a canvas?
Do I want to build it like a cave man? That is, this is dangerous. The candle is
powerful. Where this red wants to, I mean where this blue wants to go. I look from
far away. I look from close up. Somehow, I would like to have the blue in the middle,
but I feel a little bit here, in a corner. Maybe it can be in both places. If it is a blue
moment. Small, small drops, it is sort of ror, ror, rain. So, what is this one now, sort
of storm or a rain? It can go out there and over there, over there, huh, huh. It needs
to visit other places. It attacks. So, heh, hee. This is the wild blue. Just awesome. And
yet it is here hiding in a corner by himself. The blue must move into a corner, blue
like this. Thus there it is, by itself, blue, blue, ahha, hha, blue. Is it so that the blue
stays there and will not disturb as a swing in here. Is there where it stays. But in this
fragility something else is needed.
Then shall I pick up the yellow. It could heat up and provide a hot feeling here in
the glorious redness. It is as such a prim, pram, prum, dum, tim, tam. Yellow is out
there, here is the yellow. The yellow can be heating up here. Here I have something
like that, hmm, mm, hmm, du, tu, du, tu, dud [humming opera and painting and
splatting wildly]. There it went to every place to distract. No, it creates a light and
brightness, hmm, hmm. Yes, I will give a light, a life, a lovely life, ball, ball, ahh, haa,
hmm, haa, hmm.
Now, I still have the white. Should I start yet? I have only a stick in the white
[hissing and humming]. This is sort of a throw, it does not disturb. Instead, it creates
a natural stimulant to the point. So nicely it spills this one. Maybe it can be in the
middle, the perfect light. Some kind of network, a fierce network, white light, hmm.
So, it came so much, but not too much can be seen, trum, trum, trum, trum, trum.
Soon it should start to show. This white line is very sensitive. Okay, as a whole this
still looks very fragile. Let's turn the lights on. Ahaa, I see this looks a totally different in a light, when there is a light. Maybe I could do something when the light is on. Let's do a little more, a little bit of this goes [humming]. It needed this blue, that it is enough blue di, diid, di, dii, dii. A little bit more blue. Here's where it should be! Daa, daa, da, da, daa. This is my act to spill blue to every place, Da, da, datratra, traa. It may come to visit here too, hehe. Red and white are the colors of the truth. What do you think about this guest, it came to visit daa, daa. Then I want the yellow. It is the power of the color, but [humming], it just fits there. A little bit will be an orange and that does not matter. Shall I put the green here? When I stick these two beside each other. Let's see what kind of green it makes. There, it is not the world's best, though. They don't really fit together. Well, some white, so it heals. Yeah, let's stay at the grassroots level. So it is there, that yellow. Well, then I could put in here a little yellow. Here is some kind of hole where it wants to fit in. A little something. Here is the wind breeze. That it moves. As a flame of fire once I arrived at the fascinating, di, dii di dii. And my socks have this lovely color. And okie dokie, and I think this one is too unfinished. Something was not completed. It is screaming that you forgot me. Do not leave me alone. I miss more. And then the red. The red, which I have only as a surface area. Where he goes. It is the red in its place. I could put a little more red. I take a lot, why not. With the red I can paint more. A strong color, but not irritating. Is the bum-burning, does not burn. It was there the red. Do you want to go there or somewhere else. Somehow, I feel that the red shouts either here or there. It says, put the red on top of me. Make the winds white. There I desire white (recording time 18:19 minutes). 

The third video: Just now I realized that I can still work a bit on this with a palette knife, this
movement. I don't want that it is so similar a kind of surface. I want there is
something, so it is not flat and just like something that is not the one and the same.
There will be more variety. Right now, a little is erased, and it will be just nice.
Apparently rust comes off from the palette knife, but it doesn't hurt anything. The
tiny bit of rust is actually pretty good. I think, I think that this is a bit of a boring, flat
painting, here it is only one and the same. From here, it took off. The change came. In
that direction it is a bit curved. I don't like works that are too boring. I don't like.
It is moving nicely in everywhere. A little bit too much here, I have to take a bit
off. Here comes and mixed with everything; the rain and the autumn wood forest.
Sharp lines. It is different, let’s put a little bit something tiny here as well, so it is a
different thing. Now, this mass below is somehow less boring. So, now it is better to
continue. Yet, I could swipe a bit somewhere. Well, it is better to consider far away,
tram, tram, tram, tram, then this motion started. I have, here I have been stretching
these painful shoulders, maybe there is this connection, between the motion in this
painting. Let’s take a break, it's about the time for a break (recording time 3:42 min).


The fourth video: Yes, now I've gotten something done here. And I have not gotten done, that
means both. So that is the deal. Now, I have arranged some nice candles in the
garage. They are nice and I have put the canvas on the floor. Now, I have to check
that the camera is okay. So I focus the camera on the area where I paint. It is there.
I have to test-record. Because it is dark, since I have only the candles. Let’s start
recording with the camera. I step in and see. So, here is the canvas and it has a little
bit of this paste on it. I will continue this, so that I'll only paint and forget my first
layer, what I did before. And this paste is sort of a ground motion, it is as it is. Let's
see if the camera is working, so (recording time 1:54 minutes).

The Second video: Yes, now I have that. I went shopping for this kind of bottle. It is for this, for this paint. Some sort of shape, or the surface, the surface and the structure. And, what about this one, how does it even work, ahaa I see here is this, sort of so. That it
can be used either light or heavy, which I shall then use. And now do I just press,
apparently. So, I have a lovely big canvas and I shall start to paint, oops like this.
Here's how I will fly. I always like... I press down here, ahaa I can make that thick, so
it will fly. Here is a kind of good spiral motion, it can also be an ocean wave.
Yes, I better pick up my glasses, so I can see what I've done. Just as it is, here is a
nice arc. It will move fast, just like that. And then here I can make a swooping line,
which will start crushing against the arc. And the arc is in a panic, so. That is okay,
there is a fight, which one is stronger? Is it the crash that is coming or is it the one
that is fleeing? So, here we go, haa. But now, here comes something, this wonderful
dive and then this one leaves. Well, it seems that, this is the face of the attack and
defense. But is it actually so, but where are they moving next? Here can be found the
force or the anger. And there is the one that says do not come, do not come. In this
painting there is now more hatred, let it be. I feel like doing something little, small
dots, tip, tip, tip, to put in there, I don't know. A little power to this dive.
Maybe I'll add more power to the dive and the attack. Maybe, I could add, when
the dive comes through there. It does kind of drop down here. It's like going. Now
it came this kind of a curved downward movement, attack, softens, resumes, flights,
iui, iui, iu, curved flight. Is this good now, or maybe it continues too much, I don't
know, I don't know. Klok, comes and goes, and the tsunami will be the case. Help me,
now it came, an issue, a problem. Now I don't know what to do. Well, this miracle
stuff must be allowed to dry here. And in this bottle it said that, when it is blue, then
it can't be touched. It must be allowed to dry. This is now testing such issues with a
comprehensive range of motion, clock, clack. Here's how. I think that I will not spray
there anymore. I will not touch this. What should be done with this bottle, it has to
to be washed, and recording stopped. It is time for a break (recording time 5:44 min).

Sale of the Publication:

Lapland University Press (University of Lapland Library at Yliopistonkatu 8, Rovaniemi), tel +358-40821 4242, publications@ulapland.fi) ordering via the Internet: www.ulapland.fi/lup

The Artistic Production in English: 

http://lauda.ulapland.fi/bitstream/handle/10024/61720/Sutton_Asta_ActaE_155pdfA.pdf?sequence=2





 http://lauda.ulapland.fi/handle/10024/61720

Academic Doctoral Dissertation

Art and the Unconscious:

A Semiotic Case Study of the Painting Process.

by Asta Sutton PhD 2014.






The following videos were created during the Art Production of my Doctoral Dissertation, title

Art and the Unconscious: A Semiotic Case Study of the Painting Process