Constantly slipping into new trajectories where there are no enduring substances, only momentary forms, the painting is made of deposits of momentary occasions, each giving the appearance of an object that is continuously extending itself in time.

It is not a matter of a structure complete in itself as produced by the human mind, and therefore not a formal result of painting as vehicle of counter-nature: the aim is not cum grano salis abstract painting.

Instead, the site consists of spontaneous processes of a sedimentation and erosive painting. – An expressive mode where painting becomes itself, i.e. it appears as its own materialization as a geologic object.

Whereas abstractionist modernism asked what it would be like to live in a world where the sign was arbitrary, because subject to endless cultural convolutions, it may be relevant to ask what sorts of natural or geological convolutions displace iconoclastically whatever attempts we may have in trying to fix infinity.

Geologic catastrophism covers over the culture of painting like a landslide.

…the dizziness of things unsaid.


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