Whereas artists have once placed inalienable individuality at the center of artistic expression, the ascendancy of geology into the historical sphere (and history into the geologic sphere) presents challenges to this model of the individual. Whereas the painter once thought themselves the center of such spontaneous processes taking place within the personality, at present the painter undertakes for themselves a redistribution of the speculative senses into the geologic tension of the material: physic automatism gives way to the automatism of matter.
The total inverse of the surrealist doctrine, which saw painting as evocative thing stemming from the subconscious of the individual: what would be included as an inverse would be a sort of subconsciousness of the material itself, unfolding as it does and as it will out of its own parameters. Hence the definition of ‘evocative painting’ must be reformatted: the subject-matter of the ‘evocative painting’ does not include the recess of the personality (or does not only include such things) but instead consists of emanations from a ground of material reality in a stage of constant change. The ‘evocative’ is an evocation of processes of matter in its becoming.
Fractal painting: the plasticity is a testimony to the sedimentation and erosion processes of the earth. The struggle of painting is a geological catastrophe.
We humans are not the sole cause of global change. A lot of us have already figured out that one. Forces have been released upon this planet that have dwarfed anything we are yet capable of doing. Consider the play of the Extinct and the Extant. Take for example the Clovis sites: the dispersed black matte layer really is the truth of the Black Square, the origin of art. In a single afternoon everything can change forever.
Upon the incessant pressure of matter’s ability to exercise its rights, the fate of representation has undergone a breakdown in its ability to convey ideas and forms. The real revelation of modern painting resides in this matter-of-factness of painting and not in any trek of painting as narcissistic mirror.
If the appearance of lyrical or hermetic experiences hidden in the life of nature as reflected in the psychology of the artist do appear in the work, as the personality of the artist breaks into the image, then it is based on a trajectory where the matter-of-factness of the object begins to take precedence and the artist’s personality begins to recede. There are isolated shreds of reality of imagination that form the image but this vision sees the ‘imago’ of the scale everywhere. Geology ultimately asserts its own combinations.