1970 Space of Memory

Constructed narrative meaning from a sequence, layer upon layer another torn through the surface. I became intrigued by material as surface to history.

I was influenced by Mercel Broodthaers, a Belgian filmaker who questioned the function of Museums and the logic of exhibitions, at first because he had the same initials, but then because of his film, L’HONNEUR DE KURT SCHWITTERS ( L’invention du Cinema) and Allen Kaprow an artist in Berlin who, utilizing sight, sounds, people, odor and touch. We got a group of friends together and build a miniture Berlin Wall of cinder block, mortered with stale bread and military bulk containers of strawberry jam which we knocked down and had to clean up.

These treatments pull together often-partite forms that mimic skins tying the work back to the world. My works at this time stress the relationship between depicted and actual surface. I emphasize the emotional distance offering the viewer, touch, traditionally denyed.

Line is signified by deeply carved, relief like incisions. Painting is not representation, but realization. (The chambers of the wind and how the winds are divided, and how they are weighed and how the portals of the winds are reckoned, each according to the power of the wind and the power of the lights of the moon.

The thunder, according to the places where they fall fore the thunder has places of rest which are asigned to it. The treasury of their peal is like the sand and each one of them as it peals is held in with a bridle) THE BOOK OF ENOCH

Dreams and thoughts are represented inside a bubble as a way to give physical form to the intangible.

14.1. A CORONER’S SILHOUETTE

Circles reflect the Buddhist wheel the repetition is temporality an cyclic. The visualization of sound, a notion influenced by Arthur Dove and Lotte Reiniger film use of silhouette. I used broken vinyl records, a reference to Pythagorean theory that the planets exude music and crutches became symbolic of an inadequate support system. Fragment within quotidian existence. I filter literal form without desecrating concept.

15. PAISAGERN EM ESPIRAL (Landscape in Spiral) 8x10’ encaustic & vinyl on wood and copper

The theme of the transitory within the crosshairs of a gun sight. Rivulets of paint transubstantiated, to water, to blood as if the real and the dream parallel each other and could exchange identities. Conceived as a view into a skeletal structure of the perils of the human condition. The four-module piece is combination of Hesse’s, Siddhartha, Ravel’s, “La Valse and an obscure Otto Preminger’s film, Whirlpool (1949) Parallel Rudolf Arnheim’s mantra like statement, “All perceived is also thinking; all reasoning is also intuition; all observation is also invention,” The waltz traditionally in three parts, Ravel expands to four parts, anomie, solitude, social fragmentation and isolation. Shifts from Euclidian parallel lines that never meet and into crepuscular spiraling. Artifice insinuates illusion, a thought that continually closes in. Concentric curve of the vortex pays tribute to the stature of the target. Beyond the target is a perfectly pitched, indirect aim which bounces across centuries. The massacre of innocents continue to believe in the power of speculation wrapped in beauty.

(The parental father, represented by sheep.) Breeding becomes a tool for intimidation. Stain is a reference to the labors of scientists dying slides with colors of the prism to better see the dimensions.

18. IN ILLA IPSA

(a still finer line)

21. Bovine

Based from Jean Debuffet’s 1943 “The Large Solitary Milking”. I relied on an inventory of themes from the post-war existentialist era.

22. Ange Des Oranges (angel of storms)

The piece suggested a merging of earth and sky, the slate tiles evoke both roofing material and reference the Norse legend of the Aurora borealis as the bridge between Heaven and Earth.

20.1 HERTZ MIT GELD (money heart)

Hertz Mit Geld detail