The Kissing of Gods
This exhibition presents output from a prolonged meditation aimed at depicting and documenting time. It is structured around three primary process-tools/artifacts. Kandinsky’s, “Point and Line to Plane” serves as useful entré in scaffolding the three process-tools. All three tools are balanced in their aural and graphic attributes.
- The Point is represented by the Rock Cupule. The clearest, most direct and absolute expression is the rock cupule. This practice has evidence of existing 700,000 years before cave painting. It is tempting to consider that this action produced the first form of visual and sonic feedback while at the same time a tool was made and used. I am exploring cupule-making as means to circumvent the ego and expose gestural portals toward deep time within the Lithosphere. Cupule-making is also a form of art-making where something is not added to the earth or in this case even taken out of the earth.
- The Line is represented by my longstanding Durations drawing series. Many of the drawings in the exhibition are a subset of this larger series and assume the titles, (Notes from) Thee NOOSPHERE Apocalypse and HEMISPHERES. These subset titles are used to designate their creation within mechanical time. The sounds made while inscribing are equal to the visual outcome and are also within a parallel project entitled, Drawing Voices.
- The Plane is represented by the Aeolian Harp. The harps serve to articulate the sounds of the atmosphere a.k.a. the wind. I think of them as primitive analogs to the telegraph and the radio. My intention here is to consider the potential of these sounds to produce eidetic imagery.
My work is focused on developing new forms and new vocabularies with intention of changing art. Ultimately and at the end of the day I advocate a universal embrace that art is our birthright. I am interested in returning this potential.