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”
The process involves an extension into the time and space of the action. The event of the making of the work puts the artist in a trance. In action extending out over the edge beyond sense, where only the sensuous continuity remains. It is unavoidable to construe metaphor out of the mark-making. In order toContinue reading “Pollock’s Endless Difference”
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”
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”
 Material = revelation  Art is an approach towards the making of a world. It is an event producing the artist’s mode of existence and this existence is awareness of mystery, of un-know-ability.  The relation of art and environment is reconciled by recourse to casuality as content.  The debris of history: weContinue reading “Points of departure:”
The painter is interested in a sensibility inspired by the patterns and marks of the Earth. All work is influenced by the marks of the Earth: geological, arboreal, fluvial. The opposition between Art and Nature is irrelevant, as it used to be that Art (Culture) and Nature were to be diametrically opposed to each otherContinue reading “Painting is Earth”