Like a Landslide

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”

On Action Painting

Rosenberg’s contribution revolves around his assertions about Abstract Expressionism as a breakthrough in the history of painting: it was no longer painting pictures, instead the surface became a field for recording an event. It is the event or the ‘action’ of the expressionistic capacities of the painter themselves involved with a direct use of materials.Continue reading “On Action Painting”

The Medium is Sensitive

Painting has come to be not about illustrating a world but about enticing forces inherent in the thing by elaborating the pictorial consequences of its own reality. With abstract geology in painting the work becomes a vision of casuality. As to what it might be that underlines the painting is the inquiry of the painter,Continue reading “The Medium is Sensitive”

What is a “Finished” Painting?

Below is a “finished” snow painting (see my previous post for some melting pictures). No painting is ever really finished, especially those whose aim is the metaphysics of processes. The materials I use to create paintings (paint, soil, water, snow, etc.) were once other things: there are all sorts of living organisms in the soil,Continue reading “What is a “Finished” Painting?”

Snow Paintings

Letting go as the arbiter of what appears the painter coaxes the materials themselves to form an image. What appears in the painting is as the earth appears: nature’s own qualities of form are allowed to emerge unimpeded. Tools: paintbrush, flat-head shovel, oil, acrylic, fresh snow, soil on canvas. (1) Build up the plane withContinue reading “Snow Paintings”

Beyond Technological Ideology, Smithson’s ‘From Steel to Rust’

“Molded steel and cast aluminum are machine manufactured, and as a result they bear the stamp of technological ideology. Steel is hard, tough metal, suggesting the permanence of technological values. …Yet the more I think about steel itself, devoid of the technological refinements, the more rust becomes the fundamental property of steel. Rust itself isContinue reading “Beyond Technological Ideology, Smithson’s ‘From Steel to Rust’”


Whereas artists have once placed inalienable individuality at the center of artistic expression, the ascendancy of geology into the historical sphere (and history into the geologic sphere) presents challenges to this model of the individual. Whereas the painter once thought themselves the center of such spontaneous processes taking place within the personality, at present theContinue reading “Scale”

The Advent

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”