Ghosts Aghast Deus Ex Machina (2015)

Ghosts Aghast Deus ex Machinae: Valences of Nachtraglechkeit: The fundamental premise of these works is that the motion sensor drawing creates itself- it’s experience; while mapping its own cultural content in a parallel morphogenic dimensioning of trace or osmotic consciousness in relation to rhizome or unusual architecture within the structure of vector and raster as simulacra. This is a fairly Hegelian idea according to his intuition before Heisenberg that experience is self- altering and that by implication phenomenology and semiotics are embedded. Morphogenic arrows The idea that a kind of cross disciplinary “topology” of morphic values can map to morphogenic content ( beyond anamorphosis or biomorphosis) or “semiotic blending.” I source to Orphic values M-> Orphic and in my schemas are presented as a kind of overview of my labyrinthine constructions as though from momentarily overhead view of a general siting. One Liners :Just as some of the drawing is kind of like drawing with a flashlight in that an area is held open for development through a drawing in one unbroken shot( by mis- using a border function) I also give a parallel overwriting or text within the works at times. Labyrinths: my construction of a language of” strange loops” (per Goedel Esher Bach) in drawing radicals or root rythms that cascade through the cyber loop are my archival mood and mode. Labyrinth rubbings: the mood of a black and white value and grittier focus bring the drawing resource closer into focus. Ghosts in the Dust In these drawings various mask functions bring the idea of layers and serial work into a canonical compound which here is directly related to the famous Dust Raising and Cubist Masks. I am following up in a way on the Warhol-Morandi connection in which the mass culture is invited back into its own prior intuitions of a tableau which presents an altering; a sacrificial content that also is strangely restorative- is addicted to analysis even as discursive elements and discourse are pleasantly and creatively confused. Limmers Limmericks Nonsense is the REM stumble of the subconscious in the the world of the limmable through which the subliminal is drawn. Lim- root of limit is also the word for drawing. The limericks here are a result of the movement towards the sublime from resource.

Armature The armature as a vision of genesis intrigues me. It allows me to present cyber space in a sculptural tone of polyphonic morphology that I relate to. Orphic Morphemes and Pattern Block Radicals The sense of a osmotic consciousness as a cultural “stain” in the Lacanian sense of relating to environment, of establishing a subject by displacing tableau to environment prompts me to find various radicals or root patterns, rhetoric, morphemes of sound and also movement, topographical prosody. Tectonic Plates This is a form of abstraction in my media which is essentially the compression of territory to a geo mapping of lemmae. The mapping activity is the motion, like kinetic sculpture which does not actually move or have moving parts but somehow directs the viewer to move. Poiesis Cinema of a Kind The somewhat labored joke on anemic cinema and cruel theatre is not without an interesting inner direction by which I identify primordial chaos as my medium. Exploded Trace Structuring the cyber drawing space through a piece of tracing paper draped and photographed through screen to become software object with which I can also trace the original drawing from behind so to speak, or use the altered parameters the new object creates. Exploded Drawings These are the computer version of site non site: a core sample in the drawing is exptrapolated to explode out a new dimension which then can be reworked.

Full Description

A large number of approaches towards motion in mind and virtuality arrive at seperating dualism from sources in object and subject transposal towards Oscillation, and similarly misreadng the idea of enfolding as pertaining to affecting effect rather than effectuating effect through a philsosophic distance from the question as somehow answer, looking instead into the psychological colloids of perception itself

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Artist Statement

These works focus on the morphogenic as discourse and discursive at the remove of creating experience within the enfold semiotic and the phenomenological that are the invitational rhetoric of drawing and specifically motion sensor drawing arrive to realizing a post nominilist critique in which the creative realm is the semiotic blending.

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