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 ofContinue reading “Chaos & Potential in Painting”

Handling, Glimpse, Withdrawal

I suppose my interests lately reside in content since I tend to think that content is just as crucial as form in the contribution of what makes a good painting. Perhaps that is why I am drawn to talking about painting and its influences, rather than being satisfied with recourse to a vacuous actuality ofContinue reading “Handling, Glimpse, Withdrawal”

Cognitive Map

This cognitive map serves as a means of gathering together materiality, technique and theory that may pertain to my artistic endeavors. The content revolves around employed artistic materials, mythological and philsophical interests, etc., that may provide an assembly of references to my artwork, texts and ramblings. No doubt this map will be altered over theContinue reading “Cognitive Map”

Does Becoming Need You?

  Images evoked out of material by the painter’s activities could be terms ‘evocation’ – as an activity of painting, introduced in the modern era, where the imagination takes center stage in the pursuit of the expression of the painted object. Within the modern era of ‘isms’ the aim of evocation irradiated in several differentContinue reading “Does Becoming Need You?”

Speculations on Anonymous Materials

  presentation by Iain Hamilton Grant – “The Speculations on Anonymous Materials symposium brings together different approaches in philosophy, which in their own way all aim to go beyond modern and postmodern thinking. The symposium is based on the following hypothesis: The fundamental technological, scientific and socio-political changes at the beginning of the 21st centuryContinue reading “Speculations on Anonymous Materials”

Beyond Evocation

  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”

On the Geologic Painting

Lately I’ve been jotting down a few ideas in my sketchbook pertaining to geologic painting. My focus is specifically on how to categorize it as a practice set apart from previous modes of painting. While categories are rather arbitrary they nevertheless are useful for laying out one’s own attitudes via painting; this is because aestheticContinue reading “On the Geologic Painting”

Accept That I Can Plan Nothing

  “Accept that I can plan nothing. Any consideration that I make about the ‘construction’ of a picture is false and if the execution is successful then it is only because I partially destroy it or because it works anyway, because it is not disturbing and looks as though it is not planned. Accepting thisContinue reading “Accept That I Can Plan Nothing”

Notes on Sedimentation of the Mind

A few comments on entropy, the geologic and art. Robert Smithson’s essay┬ámentions the encroachment of technological ideology into art with “technology” and “industry” becoming topes in the New York Art World of the ’50s and ’60s, where he explains, “The products of industry and technology began to have an appeal to the artist who wantedContinue reading “Notes on Sedimentation of the Mind”

Abstraction & Wilderness

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”