“World Paintings”

“The aesthetic regurgitation of geological awfulness was exactly what Karel van Mander meant when he described Pieter Bruegel the Elder as swallowing whole mountains and rocks and vomiting them up again on canvases and panels. Leonardo’s god-like shaping hand set on the awesome mountainside now became the Fleming’s gift for making mountains palatable. For whileContinue reading ““World Paintings””

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”

On the Rhetoric of Painting

As an emergent feature of the Sun’s energy economy, organic life is subject to entropic necessity. Life as a manifestation of necrogenic vitality is inherently entwined with death. Painting, as an intensification of life, is an artifact of the humic indwelling. It is earthbound, composed of the nigreddo of Earth. As an artifact of time’sContinue reading “On the Rhetoric of Painting”

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?”

Earth Script

  Whereas abstraction in painting had surpassed the depiction of the exterior world and turned towards the embodied thing of painting as an evocative force, allowing the medium to take on a more personal character, deposition in painting – defined as the geologic deposition of the materiality of painting – usurps the modern theme ofContinue reading “Earth Script”

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”