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”
A few comments on entropy, the geologic and art. Robert Smithson’s essay mentions 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”
closeups of some new sculptures. (oil, acrylic, polyethylene, caulk, wood, pine needles, soil)
catastrophe (n.) 1530s, “reversal of what is expected” (especially a fatal turning point in a drama), from Latin catastropha, from Greek katastrophe “an overturning; a sudden end,” from katastrephein “to overturn, turn down, trample on; to come to an end,” from kata “down” (see cata-) + strephein “turn” (see strophe). Extension to “sudden disaster” isContinue reading “The Return of Νέμεσις: Catastrophism in the Anthropocene”
Here are two of my recent sculptures. The dimensions vary but range about 36″-48″ width/height, the second one is about 24″ high. Artifacts. Techno-fossils. The black of the black mat boundary or the truth of Black Square. The decomposing toxic object of capital puncturing into the geological strata.
The working process behind the exhibition is to explore the intersection between mark-making and landscape. The question unfolds as to how these two things can converge. The materiality of earth informs all the works. Alongside paint, plaster and pigment, there is soil. Painting is earth. I want to see what a painting can do whenContinue reading “Notes on Artist talk at the Box Factory for the Arts”
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”
Through my art I am a materialist at the level of procedure – asserting material explicitly in the making of the work. The essential commitment to materialist principles of research into form-making brushes up against an accompanying variant charged with allegorical, even metaphysical leanings. Materialism in and of itself is incapable of providing humanity withContinue reading “Speculating through Materials”