In this case he drawing as a serial effort has been related to computer tiling or strict patterning and the general idea is that the computer scrolling is like a reflex arc upon which the idea of building an art becomes morphic to a sense of similar bodily identification and to the idea of art which references itself ie “reflexive art”, a term which is an interesting variation on “art for ar’s sake” – a kind of Post-art for arts sake as it were.
The recombinant transpose of the creativity as creating a larger world and then again being subsumed into the creative process itself can be identified in the case of Baroque art for example in which the ambivelant gesture and peripheral vision that forms- informs Caravggio’s sensibility or In Bernini’s spread of the senses upon his construction metaphors that thus remove all dry observation to a hyper state of sensation radically modifies the introspection of the Platonic lights to a threshold of appreciation that is similar to seeing through art, and art about art.
In both cases a sense of metamorphosis from the ideal to real in the case of Caravaggio and from the mundane to its fantastic conceits and paradoxes and tropes in the case of Bernini share a transformation upon the very nature of becoming, and through it, that quarry a past or excavate a future in a mix of time that falls upon and to pageantry.
A dryer beam of light is selected by the Minimilists in the creation field of no-space meaning the photography of the sculptural forms which drops out backgrounds and directs attention entirely to the art object as its own resource. Robert Smithson give indirect expression to this idea through a thought experiment in which he proffers a childs sandbox in white and black sands mixed by the child’s play. Accordingly-perception extricate figure from ground, and this puzzle on the black and white sands of photograpy seizing a moment in its single take is a manifold therefore that is opaque to analysis. The thought experiment has dropped out the child- the agent is not visible and the agent was backgrounding “events”.
In this drawing the computer tiling is more new- traditionally presented as simplicity that shows in a seemingly complex matrix-fluid and elusive. At the same time I have begun to introduce a sort of fish fin line that enfolds space in an organic summary that displaces the architectural content to a proposal of the events of its material field on the context or pretext of a meta realm of virtuality that endorses sensation and from this reflexivity proposes its new objects which become signs not after the fact but signify their own becoming. In this particular drawing one can see the pattern has now become irregular and harkens back to another moment in the advents of relation between photography and sculpture specifically Brancusi’s decision to photograph his works by himself only, while keeping those works as intact as possible in his studio as their own archive. This then is the opposite of the Minimalist no-space and instead brings everything in.