As a painter I want the material of the object as a kind of stratum equated with the body, and it is through embodying the object in its material significance that I may attempt to embody myself. I face an overwhelming system as just another servomechanism of the technoscape and this prompts my reach into the dirt to discover my fleshy nature.
What is represented as a spatial illusionism of the image is the mirroring-effect of the disembodied gaze: this kind of painting does the work of Augustine. In the advent of the Black Square the subject discovers itself as a fiction, disengaging the perspectival power that is the disembodying incarnation. Malevich had it correct but incorrect at the same time: his vision sought the nonbeing that is (being), however under the program of “breaking free of the earth.” But his Comism may be excusable, since it was such a powerful force.
Why talk at all about painting or about God for that matter? Because painting is a quest, whether the painters acknowledge it or not, for an absolute experience (a total image). Could that image be of a totality coming to nothing? That is Malevich’s question. God is not cast down.
My interest in painting preservers because of the impulse need to displace that nihilistic theology of disembodied power. Can art be a means or opportunity of dismantling the authoritarian transcendent impulse? Another way of asking this question would be to inquire whether or not it is possible for an artistic practice to assert embodiment.
It is the fleshy Christ that has been snubbed out of western mythology.
Why painting? – Because it is the form of creative impulse most conducive to embodying experience, provided it is a certain kind of painting. So what kind of painting? – Maybe a kind of painting that asserts material as a means of dissolving the soul in the immanence of matter? A kind of painting where the method or mode of procedure is the same as the given appearance, or where the processes involved in its making are its content: a material kind of painting compels its own ‘fleshiness.’ Every painting is a body.