Chaos & Potential in Painting

Focusing on the substrate of painting, the geologic materiality, its relation of forces, painting can act as a conduit for all kinds of protean impulses. “Paint” as a material (which is hard to define, given its ability to encompass a variety of mixed-media) may release chaotic energies. Chaos is consistently present in the making of work. Chaos effects the outcome of a multitude of events.

Out of these impulses a distilled arrangement may emerge.
What tends to structure it? What is this chaos that is ordered chance?

A certain order is integral to the technique of painting. Technique is the emphasis of the medium’s handling in its ability to potentiate ordered effects. Technique emerges out of chaotic potential. Out of chaos paintings emerge.

The painter demonstrates the ‘what’ of painting: the ‘what’ of painting is distillation of potentiality into actuality. That moment when painting becomes painting, which is to say, when it becomes an aggregate of ordered chances compiled in a manner so as to give over the sensation of structured force, it has recourse to the creativity of the stars.

How is it that this ‘what’ conveys meaning?

The subjecitve role of the painter, which is the painter’s metal state expressed on the canvas, is engaged with chatoic material and the consciousness struggles to compose the chaos. It is often that the painter exists at this site of painting in a humbling manner. One humbles oneself in front of matter because it always demonstrates moments when one is caught off step, and this trip instigates an immanentization of transcendent effect. The trancendent effect is evoked out of the substrate of the material, as reality is transformed: potentiality immanates from the object of painting.

The primary engagement unfolds around the mystery of emergence and it is met with a realization that what is doing the ordering is chaos itself. This chaos felt in the consciousness is an inner resonance circling violently around radical conteingency.

Anything is possible, and if a painting or a poem is possible then so is a god.
It is an issue of access.
…To confront chaotic potential and cast it into reality.

Published by fldwrk

I'm interested in the intersection between Art and Earth processes.

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