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An age-old question in painting is how to represent or simulate the liveliness of life in an inherently still medium. How can you capture the vivacity of perception, which the mind itself tends to dull, and encode it in something immobile? Here, the task plays out as a twofold process: first, train yourself to see that liveliness moment to moment, and then, or simultaneously, find ways to translate it into form.
It may be, in part, a matter of enlisting the unpredictabilities of the body, of movement and materials, but they too are subject to becoming codified. Another factor is time, through exploiting the inconsistencies that build up as you look at the same thing day by day. Then there is the contradiction that arises from the natural attempt to visually resolve a process that defies consistent logic. Maybe that tension creates its own kind of vitality, but does it stray too far from representation? Alternatively, one could opt for live…
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An age-old question in painting is how to represent or simulate the liveliness of life in an inherently still medium. How can you capture the vivacity of perception, which the mind itself tends to dull, and encode it in something immobile? Here, the task plays out as a twofold process: first, train yourself to see that liveliness moment to moment, and then, or simultaneously, find ways to translate it into form.
It may be, in part, a matter of enlisting the unpredictabilities of the body, of movement and materials, but they too are subject to becoming codified. Another factor is time, through exploiting the inconsistencies that build up as you look at the same thing day by day. Then there is the contradiction that arises from the natural attempt to visually resolve a process that defies consistent logic. Maybe that tension creates its own kind of vitality, but does it stray too far from representation? Alternatively, one could opt for live…
