The edge as a demarcation between what goes on in the work and what goes on elsewhere is no longer necessary. With the mineralized painting there are no edges. The limitation of size stops the expanding of the field but this limit is arbitrary. The impact area could extend indefinitely. Size and scale are not equivalents: what matters is a kind of ‘scale-invariance’ of the affect.

The materials of paint, mineral and soil set in fluid dynamics emerge as images of themselves; the elements are given ; it is a processual marking of the geology of painting.

The mind is presented with material intensities that may go into infinity, only arbitrarily ceasing as the frame intercedes – what goes on inside also goes on outside and the edges are rendered undecidable.

This feeling of the suffused intensity going off into the regions cannot be demonstrated. Words do not suffice to comprehend its reality. The movement that mineralizes the imagination gets one close but what matters is the event, and this is unlanguageable. The dynamics of its presentation deposits and erodes sediment in the mind.








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