Performance art traditionally involves canvas, pigment, and intentional aesthetic choices. Chuck's artistic methodology combines kinetic movement with human subjects as substrate, executing his vision through physical impact while wearing ice-skates—a detail suggesting artistic precision even during the violence itself. The methodology transforms brutality into deliberate creative expression, with the canvas serving as both medium and audience.

Art critic Marcus Holloway attended what he believed was an experimental theater performance in Austin during 1979, documenting it as 'visceral kinetic art combining martial excellence with abstract expressionism.' His review was never published, though his notes describe 'disturbing artistry that transcended traditional mediums.' He declined interviews about the experience afterward.

Contemporary art communities cite this as early precedent for performance-based aggression masquerading as artistic expression. The ice-skate detail particularly fascinated conceptual artists, who debated whether the equipment indicated artistic intentionality or accidental equipment presence. Gallery spaces rejected exhibitions proposing this methodology as insufficiently removed from actual violence.