“Abstract Art” has become an archetype, as opposed to challenging figurative composition it has developed its own resting point. When someone refers to an abstract piece a litany of works come to mind, any initial intention to evade classification has been undermined by a reductionist idea that is far from the subversive work that spiritualists and radicals cultivated over a century ago. When I see a form my mind tries to capture it, when it fails to do so and is stretched in two opposing directions - my mind challenges the underlying schemas that I have imposed on any shape that acts as its reference. My language - which I have used to capture the world - becomes more flexible, and occasional breaks when I thoroughly fail to name something. But we have named it - it’s abstract. Hysterically, this term undermines the act of looking at these works, because it gives us a comfortable vantage point to build assumptions and theories about its forms. For one to truly experience something “abstract” you have to leave this label at the door, bludgeon the language center of your brain and be with it.
Today maybe this is impossible, we have developed such a hyper-real idea of what an abstract work contains that we are burdened to gravitate toward it. Maybe then the role of the artists becomes to act as the trickster, distributing abstraction and absurdity in instances outside of “art”, or creating works that are continuously moving, as a means to evade any fixed classification. Perpetual Abstraction attempts to remain a fluid work that denies you a comfortable resting place. While symbols are employed they are continuously regurgitated and recontextualized by a non - linear video channel.
To break language is to challenge a matrix of reality. Real abstract work is a rejection of the forms and subjects that we have taken for granted. To reject the way we see, to have the signified continuously ripped from the signifier as if in a washing machine, tossed - cleaned.
Schizo Posting - I went down a long rabbit hole ingesting Baudrillard and Deluze, the term gave me a verb for what I was trying to do - perhaps with a different motivation. To try and be a body without organs, maybe the only place we can do this is the interent.
The conveyor passes by a fixed camera which reads its strokes, colors and shapes and converts these into music. The specific notes which are played also refer to a particular symbol & season which are brought up on video when the corresponding notes are played. These symbols are present in the painting series. The composition will repeat, but due to its shifting nature it is essentially endless, without start or finish.
Pieces Drawn reactively, left, then reacted to. Am I just simulating the process of creating art, or am I creating it in the context of my own experience.
Should I lean into the simulation, should I try and free associate my way through abstract represnetation.
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This number will take you to the audio atunment meditations for each painting. Make sure you have the propper extension ready when you call. Please don’t interpret these paintings in your own way, let me do it for you.
The video below (in this form) is almost incorrect. While all Symbols & Seasons are present here it is not being accessed and referred to by notes corresponding to the score. It is vaguely incomplete, but to assert that this is not it’s own thing, notion, island, piece, speck - would be to counter act my thesis. I am still learning. Watch this however you want.