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”

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”

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 Style & Environment 1: Critique of Concrete Painting’s ‘Counter-Nature’

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’”

A Single Problem

As Stella said, “There are two problems in painting. One is to find out what painting is and the other is to find out how to make a painting. The first is learning something and the second is making something.”1 All painters have to come up with their own solutions to the problems of painting,Continue reading “A Single Problem”