“In relation to the history of organic life of earth,” writes a modern biologist, “the paltry fifty millennia of homo sapiens constitutes something like two seconds at the close of a twenty-four hour day. On this scale, the history of civilized mankind would fill one-fifth of the last second of the last hour.” The present,Continue reading “Imagine Scales That Exceed You”
“Site for Indwelling” latex, oil, foam, polyurethane, wood, beach grass, tar, soil, mirror dimensions: roughly 6’x6′ at Fieldwork
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?
The following is connected to my previous post Wither the Eye of the Flesh?, moving from the issue of disembodiment in metaphysics into the technological transhumanism and machine-culture, grafting each upon the other to explore nihilism’s apparent dispossession and displacement of the body. Specifically, in the case of the present post, it is the bodyContinue reading “Is the Body Obsolete? (On the Body, Woman & Nature)”
In the second text I briefly explored evocative images. I placed it in connection to expressionism. The approach for this mode of expressionism has been for the subjectivity of the artist. But a glaring ommission exists in narrowing expression only to the subject of the painter. In the second text I tried to draw outContinue reading “Notes On Style & Environment 3: Expressions of the Field”
Harold Rosenberg says in his essay Criticism and Its Premises, found in the collected texts Art on the Edge, “Modern art is saturated with issues and ideologies that reflect the technological, political, social and cultural revolutions of the past one hundred years. Regardless of the degree to which the individual artist is conscious of theseContinue reading “Notes on Style & Environment 1: Critique of Concrete Painting’s ‘Counter-Nature’”
 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:”