Whereas abstraction in painting had surpassed the depiction of the exterior world and turned towards the embodied thing of painting as an evocative force, allowing the medium to take on a more personal character, deposition in painting – defined as the geologic deposition of the materiality of painting – usurps the modern theme ofContinue reading “Earth Script”
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, andContinue reading “Like a Landslide”
Extinction Object (foam, wire, wood, oil, soil, tar) “It reminds me of an oil spill,” my wife said, “it is abominable.” “Yes,” I replied. “It marks the catastrophic process that is the condition of its emergence.” Shifting through the muck of existence, can a sculpture tap into the viscosity of reality?
Beyond Evocation The evocative object emerged out of the condition of viewing the painting as a thing produced by the human mind, as painting through which the human mind could contemplate itself. Stylistic forms would vary, of course, and there were several differences and rifts between the methods and constructions of this kind ofContinue reading “Beyond Evocation”
Suggesting that painting could be for itself, an abstract painting attempting to purge all traces or afterimages of nature in order to do the work against nature: this is the proposition of the Abstractionists that sought a counter-nature in the medium. The new order of experience that would put its faith in the Sign. ItContinue reading “Abstraction & Wilderness”
We now have prints available on Threadless. You can choose between unframed, framed, and canvas prints.
“We do not listen closely enough to what painters have to say. They say that the painter is already in the canvas, where he or she encounters all the figurative and probabilistic givens that occupy the canvas. An entire battle takes place on the canvas between the painter and these givens. There is thus aContinue reading ““A Catastrophe Overcame the Canvas””
materials: foam, polyethylene, oil, plastic, caulk, acrylic, and soil.
History as a continuum of disaster. The concern of art is to present something enduring, yet something time-bound. In consequence it takes up the history of ruins, in its ‘material content,’ as a means of discovering ‘truth content.’ In Trauerspeil Benjamin writes, “Ultimately, in the death-signs of the baroque the direction of allegorical reflection isContinue reading “Baroque Ruins”
closeups of some new sculptures. (oil, acrylic, polyethylene, caulk, wood, pine needles, soil)