The artist mineralizes the imagination. The process of painting fossilizes matter into an image. The imago is devoted to nature as an image of itself. The image is not a representation of a scene, but the presentation of the potentiality of matter. It’s essential content is the advent. It does not deny what follows fromContinue reading “The Advent”
Earth is Not Cast Down. The truth of Black Square is in the cracking of its surface. The field as ironized presentation as a pristine surface, marking the fundamental non-being of the elements on show, undergoes erosion into a geologic field. This is the matter-of-fact of painting. The cracking is the crackling of non-objectivity. ElevationContinue reading “Crackling of Non-Objectivity”
The working process behind the exhibition is to explore the intersection between mark-making and landscape. The question unfolds as to how these two things can converge. The materiality of earth informs all the works. Alongside paint, plaster and pigment, there is soil. Painting is earth. I want to see what a painting can do whenContinue reading “Notes on Artist talk at the Box Factory for the Arts”
will, nature, consciousness (or) The painting is the field. Materials are the mode and the method. The work is what is created.
Ridgeline oil, acrylic, graphite, soil, plaster on wood (12″x48″) J Mason The world is constituted by continuous change: dynamic features are primary and the assemblies of static entities are the derivatives. For the artist who perceives and encounters what may look like objects and subjects (or any number of different entities) such things are alwaysContinue reading “Emergent Landscapes”
You don’t have to paint a figure in order to convey feeling. In abstraction, the aim is in organizing states of feeling. I am interested in abstraction but not in the sense of condensing particulars into sterilized forms, or of taking things out of the world in order to get at some supposed refined ‘Idea.’Continue reading “Abstraction in the World”