Monday, 14 November 2011

Wednesday, 28 September 2011

Tuesday, 13 September 2011

Fernando Passoa In Matter

An extract from Matter.

 "A red cloud billowed above the monoliths and contoured an apex over the lines of bitumen that rolled and traversed across the landscape like neurotic marks of a pubescent child."

I worked on an idea, for some time, to build a picture through fragments  much in the vain of Pessoa did in his writings, particular  The Book of Disquiet. And like Pessoa the observations were through a protagonist, an alter ego, who in my case takes a discerning interest in the visual.

Pessoa’s book takes on  a cubist like form in its shard like bits of perception that slowly builds a  view of Lisbon and the greater world. The overall effect is of man centred, the subject in a tumultuous universe, trying to realise and breach the patterns and structures that surround him. Disquiet is the emphatic understatement of the work where to Pessoa, visions and perceptions are the prison walls of  the intellect; the creative mind is the one of dreams and the aspiration of  freedom but one that is locked in the prism of reality. The political mind is one of subterfuge to the creative individual, but more importantly the only real mind because its concern is social  and its course is action and combative. This romantic concern is at odds to an older attitude of the heroic man, standing above and alone, absorbing the tumultuous nature of the world. Pessoa’s hero, if he can be called that, is a man defeated by other people, retreating into the cocoon and ferment of his imagination. He is  swathed in the relativistic universe of the imperial state, of social tyranny, rooted in not in the Byronic hero but instead the everyman of lowly ambition and petty manners. His  character is not  fallen but the bureaucratic tread on, but like Milton’s (Passoa’s great literary hero)  Satan his burdens are the shackles of his oppression. He is the ego defined, social  creature of the twentieth century.

(.....)

That juxtaposition of the Byronic and Freudian  were the starting points to this. They impart lend themselves to the heady picture of  the rockstar, Men (invariably) of intense passions and  physical articulation but must of all to that quintessential Byronic character the Vampire. The channels of neurosis and ego are nothing new but the idea was to here workout  fragments  that convoluted but expressed ideas of the enigma of perception, the real and illusory in intense subjectivity. What came out was a fetishistic voice of desire and repentance inhibited by words, lost in thought. But both like the Byronic and Milton variations our character is one at odds with the world.

Solitariness of the character is somewhat defined by a second party which acts as a particular vent to the protagonists inert separation and alienation to the world. Now the character is only loosely defined as a lover but I would suggest that he is in fact an alter ego an conflated other which is bounded to a physical materiality which our protagonists wishes to escape but at the same time control it’s vastness  and shape. Here we have a psychosis of the wounded man succumbed  in his own convalescence, impaled in his own physicality which torture becomes the expression of his own determination and ultimately his presence as a sexual being. Sex is  considered as transcendent  but ultimately a folly of a closed system which the mind inhabits. It thinks itself into oblivion, the trauma, taking shape in apparent visimilitude to the physical apparatus but instead shaped by the patterns wheeled  in psychotic conflation. Our protagonist however is not mad  but pursues an extension of himself as the physical universe so that the landscape and the things with in it are the objects of his neurosis. Ego and omnipresence are the real in there effect but the delusion and illusion are the very things which compel his thoughts

In all this is the image, the gothic, is the heightened neurotic architecture of the protagonist. To contrast this literary reality the comic is at first a stylistic representation of the characters and events. It serves not as literal device but as a conceit, to serve illustrative purpose, to inveigh the world in which the story inhabits. It’s place mirrors the marginal dictates of the world in providing a curious sense of plasticity in part due to the way it provides a malleable configuration of word into image. Its guise, however, becomes a singular experience which sides between contemplative abandon and transfiguration. It provides a separate reality in conjunction to the word and the Reader, a natural coded equivalence of time and space, which acts like an archaic form of geometry conjoining narrative and the real through the strip as if it were a stage like parenthesis. Fragments become abstractions, and abstractions the adumbration of ink on paper. The space between naturalistic and material equivalence becomes the point of convergence between thought and event, articulating at that moment.

This all suggests a stage of forms but the veracity of the language is dependent on a reflective relief between image and words. Each has it’s own sense but Where the mirror ends is within the space between the protagonist, the reader, the viewer, the author. The words set a picture which is yet to be framed and the image,  fragments of narrative to be divulged. Each is it’s own  theatrical conundrum, atrophied and superfluous made up only when the archaic subjective  body is constituted as if it were a mosaic of consciousness. Fictions are the very words, images and patterns that convolute,  protract, engage and embody existence. Materiality is just another form of mediation. A mental trick which turns the metaphysical into conditions of preambling determinism, rather than the possible figuration of forms and celestial geometries.



Tuesday, 6 September 2011

Curves

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Tuesday, 16 August 2011

Monday, 18 July 2011

Tuesday, 12 July 2011

Wednesday, 29 June 2011

Tuesday, 28 June 2011

Geometries And Ghosts (Part 1) Joan Miro And Future Painting


The further things seem to be, for most part, the longer they drift in the memory. I should qualify that circumspect observation by asking that the persistence of things in memory as a qualitative distance, as momentary grasps of time cutting through the gaze of the mundane, the situation, the temporary. To all those things abstractions berate what at first are occurrences of real, as in outwardly formed, apart from us, experiences. Memories are maybe, more concocted as an apparition of language its symbolic valence in the phantom of emotions meta morphed, morphed by the shape of the world in its enduring connectivity. 


Take a photograph which I found the other day of a urban landscape capturing the carved early evening light over a terraced back alley occupied with wheelie bins, bits of junk, left items and scattered street furniture, an innercity, urban environment common to many English towns. Here is an image full of the semiotic semantic of code and symbol, which we read clearly as language, as known things subscribed in a mutual consensus of the named, be it a bin or a street lamp. Like any language though it has derivatives and colloquiums that accent and form, give cadence to a scene, which we recognise within the image (english, urban, innercity) but also we read the image through its very apparatus, the photograph itself, which gives the very sense and nature of what we mean by the word image. The code and the language, describe the world but they don’t penetrate it because fundamentally it is a system of equivalencies and equations in which we centre ourselves. But this curious structuration bubble seems to inhibit language to an automaton of surplus code generated in the inertia of metonymic and metaphoric association. As if language was separate construed against its own material objective. That would make language as something after the physical that is read and recounted but would seem to be nevertheless counter to the experience of it everyday. 


But then If I take another look at this photo and try to expand the vocabulary of the experience further from the collective of semiotic distribution and therefore begin to apprehend the physical image I see a photo and image that are stubborn in their flatness. As if the image has no direct interpolation in simply existing because its materiality is in some way obscured by the very image and its code, so that I see the photograph as image before its constituent make up of colour, surface and texture. The diametric image renders a gap, a suspension derived directly from its real presence. What maybe described as a lag or gestation of experience, as the sum of the recalled, the reoccured at the same time becomes/is the experience, the nowness circumspect to a contingent separation with the past it encapsulates. This may be known as the uncanny in the semblance of physical sensation but also in the recalled apparition of memory as a functioning structure of language enabling the image as something seen in the world, at once and always both past and present. 


Memory provides a physicality to language in that it tenders on the experience but fundamentally is the concoction of word over what is seen and felt. There lays a further figuration of cognition that rests with the photograph and the photographed which implicitly marks the image as the one taken and experienced by an individual. If we return to our example, the photograph, I act here as the photographer and viewer of the said image. Its physical manifestation acts directly to me recalling as it were the particular state and time as I then felt it. What builds up is a mental gestation of the physical valence of that sunny evening, surrounded by contrary emotions and apprehensions. This historical I is felt through the inscription of the photograph as a presence. An I projected from the present but of the past, where the pictorial apparition acts as locus of cognition. My own entwining personal histories then and now experienced as a radical form of the present as if the past becomes its future state in the same instance. Language here becomes more than a structure but the adumbration between the seen and felt and its subscription into memory. 


At this point I and we are a symbiotic form contrary to a myth of instances and historical contexts. Something comes of, who is both prior and now the 'I', constituted in language as if rendered on an elliptical, moebius like surface shifting in time. Painting provides an example to this constitution and use of imagery that is transmutable and pliable as a form, that however presents another type of captured reality in its history, image, process and material sense. It would be acute to provide many examples of genre and style but the notions of a pluralistic world, of material consequence, of that fathomless reach of the political and corporeal in the spectre of the individual are peculiar presentiment in the modern. What does that say of our analysis and our purported demiotic demonstration of language? That the evolution of experience has changed? That somehow our consciousness has shifted? What is certain is experience, debated here through knowledge and the consequence of knowledge is the cognition of our corporeal and atrophied bodies. Mass education, the dissemination of knowledge through technology and media has transformed the physical world. How that persistence considers our own consciousness, its traviel to future presents is always through the rhetoric and tautological caprice of language itself.  


Miro provides us with an example of a painter that grapples with this political self as a means of expression and painterly gestation. His works provide a series of motifs that apply directly to the act of the painting in colour shape and form but also to histories and landscapes that all the while resemble a kind of idiosyncratic cartography where ladders and geometries weave through flaccid and bloated protrusions, hats and ephemera. What Miro's work contains is a figuration, a universe according to the mark of an artist, his history, his identity but not a floating void detached in the mind of an inscrutable pose and hermetic jargon of art and its abstractions but a grounded firmament balanced between men and the world. This is more clearly seen in his early works in which he paints the land and places that surround him in the towns and farms of Catalonia. These early paintings transform from their expressionist roots into something other in a rapid course of a few years. This furtive period of Miro's seems to be set between a sentiment that he clearly feels but one against or unsure of it's certainty in the apparent clarity being in the world and a wider significance of things, asitwere of the world


If we take at look at one of his last conventional farmyard landscapes The Farm 1922 we begin to see a language that entwines artist and the world. In it we see a wall of farmhouse situated to the left of the picture where an opening shows a stable and horse, a barn and pen are situated to the right both stocked with other animals and apparatus. A large eucalyptus tree rises from the central foreground, surrounded by the instruments and processes of the working farm, fanning out into the dusky blue firmament with an opaque moon quietly laying to its right. The painting serves to compose a scene which is a much a systematic diagram of a working farm than as a capturing of an image in nature. This pictorial and symbolic equivalence works to sustain itself as an image as well as to reveal the balance and checks that are invested by man and by nature. Art speaks of the world as the world in the formalism of pictorial representation and technological abstraction but also to commune between the picture and the land as a space shared, worked, consumed, worshiped even. This synthetic equilibrium becomes the defined space in which the artist transpires the now and the being between men and individuals as a mutuality of pertained corporeality. This is ideological art in search for its efficacy in modernity as a political act that enables the I , the we to be articulated as a mythic space in which the painting lays in accordance to the real. Where the image transfigures the geography, the body, the experiential as a transaction between artist and audience through the shared events and processes, which are both depicted, worked, apprehended even in the surface culmination of symbol and allegory. 


Miro conspires to paint the trajectory of men as political animals that articulate the ideological through a shared significance in mythic structures. In preceding works (such as Head of a Catalan Peasant1925) the ephemera of Catalonian hats, points, ladder like structures mix with the landscape pictorial devices of colour and form that were the mark of his previous pantings build a geography and a figuration which is as much a symbolic avatar appropriate to the shared histories of the many than the mere situation of the artist. But the presence he portrays is the conflation of history and myth in the modern articulation of equivalence and radical form that intonates both the process and progress as the occupation of becoming in the mind of men. His paintings become elliptical variances of past and future where all the while the artist acts in the determinate now in poetic infiltration in the antecedences of language, symbol and allegory. The artist in Miro's case is the individual in creative assertion, in the malleability of language that empowers the present in its very act. Miro acts also as the Unfolder of the sacred, the bearer of means which art is the vessel of material and superstructure coordination. Painting here becomes its own form of sacrificial artifice quite apart from its sense as an elucidating reliquary of the physical world. But what modernism asserts in its cause is the manifestation of worldly apparitions is the circumspect view of individuals in language. It allows the fragmentary and geometry equations of the particular to be the apparatus that electrifies the body as a thinking machine in time and place. Where the patterns of language and the fabric of the visual world become instances of the same experience that separates and binds each and every one. 





Monday, 20 June 2011

Wednesday, 15 June 2011

Monday, 23 May 2011

Friday, 20 May 2011

Pi

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