Historically the roots of abstraction are embedded in Analytical Cubism, and from that an entire century of debate has grown—one which is still alive and well. That debate continues within the nuances of these various artists by addressing the liminal space between painting, sculpture and the photographic. The idea itself is the transformation between comfort and confusion: a new subjectivity that signifies the questioning of “art objecthood,” a reaction to the issues of authorship, mechanization, technology, commoditization, consumerism and the index. More specifically, artists are creating and addressing “imaginative perception,” a pictorial language that interrupts the pleasure and ease of looking by fragmenting the continuity of a basic serial structure.
That framework now becomes absent and interstitial space becomes the primary focus as it moves to the foreground. Looking at interstices creates an unpredictable hybridization through the crashing of space—the attacking, destroying, cutting, tearing, crashing, or secretly replacing the normal and habitual manner of perception.