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Notes # 9, october 2013

Notes # 9, october 2013

 

 

The process of creating a painting is a process of cohabitating. It is interesting to start by facing a classical dilemma of a pictorial operation: ” How to approach a canvas?” It is through the classical structured representation of painting that I am able to depart from my own paradigms of painterly articulations. The point of departure is the point where the canvas is no longer a canvas. The canvas and I disappear and dissolve into a realm of abstract questions and answers. Here being able move past ones own flight, towards different heights that stretch into different directions. The painting process becomes a way of moving, existing. Painting becomes a complex space, where one exist through the painting’s encounters that change continuously out and in from eyesight. Sensing an absence of a presence. It is a viewing of a visual map, of being both inside and outside simultaneously. The textual, non-textual, the visual and non-visual, the being-ness of my movements, all displace me from the static edges of the linear lines. There is no need to follow the definite or linear, I can move past the end, and the linear. Displaced and cut-off, a total freedom of space. Disappearing. Re-positioning and re-directing.

 

"Far away"

 

The world is bluer and of the earth

at night, when I sleep

p.n.

 

"in Eden"

 

Ah! the sea!

might I but moor

to-night in thee!

e.d.

 

Intuition. The painting becomes a live and the dialog begins. Dislocated from representation, I become a part of the painting, in-between and transparent. Here I can stand still at the edge of a painterly gesture, a line, and listen to the silence, jumping into the unstructured chaos of my thoughts and feelings. It is here in this space I am able to come to terms with my own language that stretches beyond definite words and images.

"panta rhei I"

 

 

 

"panta rhei II"

 

It becomes a landscape with no borders. A handwriting that doesn’t write, but still can be easily sensed in a reflexive intuitive manner. It cohabitates a multi-sensorial abstract space. Becoming a live intuitively, it exists and connects, and I can understand why writing is not always writing, but an open question and answer to a map without definite viewable lines that moves beyond the question of “what remains?”

 

 

"Invisible mending I"

 

Posted by Anne Sophie Lorange on 11/1/13







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