2007 0PTICAL PARABLE

Experimenting with notions of fractured space, that torque, mutate, or splinter. Painting the human shadow like a stain glass window. Evocative offers of ghostly glimpse of the boundries between body and spirit. Approach is based on art historical references which I use to address social or political identity issues. I lay open a historical dimention as a cultural construct. Valuating the aesthetic perception of space rather than focusing on objects themselves. Engaged issues of subjectivity, perception and memory. Homunculi floating across the black backrounds like intrusions of memory. A model of the inner perceptual sphere, a posited subjective space where external and internal cues coexist and are interpreted. The semidarkness, the enveloping sound, the quasi-ritual absorption. The reworking and scored painting surface gradually exposed vein and nerve-like the seal on a letter. An intamate feeling for amounts in the more intimate or written paintings.
The function of perception, the delectation of the fragment. Expressionist has to do with something violent in the American character. Real despair to painting and the acceptance of the existential consequences it brings about in ones life. I see art as a revelation or negation of history. Ideology of the absolute, an articulation of praxis and theory. An optical parable does to the image what echo does so well to sound when our words come back to us amplified in space. Photography comes out of its form, temporal always linked to the present or the past. I unit it with paint physical and timeless. We live in history. Television and movies are an image of the thinking process. Solitude is full of relationships with those who are not present, who no longer exist.'

 
   

 

480. THE SHADOW OF OUR LIMITS

The image to come is an expression coined by Henri Cartier Bresson in reference to filmaking opposed to photography. To what extent does the photographer project his dreams, fantasies and obsessions onto the world. Asking what does it mean to be human? The downcast eyes evoke funerary figures, imprint in the labyrinth of the psyche, creatures turn inward, ignoring the viewer. A shrine to stillborn and unborn children Couples,”eveloped embrace and sink into sleep. A metaphor for the brevity of indiviual existence. Deeply buried mobil images superimpose themselves on the film of life. Standing at the front between the true and the false, the certain and the uncertain. The just and the unjust. The ultimite possibility for recounting a reality that is mobile, evasive on which we can not get a retake.

 

 

 

Experimenting with notions of fractured space, that torqque, mutate, or splinter.  Painting the human shadow like a stain glass window.  Evocative offers of ghostly glimpse of the boundries between body and spirit.  Approach is based on art historical references which I use to address social or political identity issues.  I lay open a historical dimention as a cultural construct.  Valuating the aesthetic perception of spacther than focusing on objects themselves.  Engaged issues of subjectivity, perception and memory.  Homunculi floating across the black backrounds like intrusions of memory.  A model of the inner perceptual sphere, a posited subjective space where external and internal cues coexist and are interpreted.  The semidarkness, the enveloping sound, the quasi-ritual absorp
    2008 THE SOMNAMBULISTS
Quantum mechanics and psychanalysis along with developments in prosthetics and robotics that have natural appeal to technophilic, I find increasing porosity in borders separating individuals from one another. I look to the explosion of new technology for stray evidence of other worlds, under the world wide shadow of extremist theology. Hard science is a pillar of the patriarchy survives (here citation of Foucault is still inevitable.) That Relativism associated with physics, uncertainty principle, beloved by early modernists. 20 years since the writing of Donna Haraways, “MANIFESTO FOR CYBORGS” at once outlandish and real. Neologism-laden idiom, alexical shift. Tangible, hoary figures as Nietzsche, Freud, Lacan, Deruda, Deleuze and theoretician Bernard Andrieu, the dark side of creation.
THE EUNUCH BAPTIZED BY SAINT PHILIP 1850