Observe, see, take notes, gather different types of information, at multiple scales, of different durations. Different kinds of seeing – looking, glancing, contemplating, foveal and peripheral vision, walking around, going into, looking down, looking up, stepping back afar, peering in closely, from different perspectives. Visual processing – multiple and simultaneous pathways that the brain uses to make sense of sensory stimuli, to construct images and meaning Conflicting, changing information (i.e. the “where” system uses tonal information from rod receptors to situate you in space, whereas the “what” system relies on color information from cone receptors. So two colors of the same tonality but complementary hues send conflicting (“dissonant”) information). Unstable, fugitive visions (i.e. information about different kinds of contrasts can reach higher visual processing centers at different rates – producing a sense of movement where there is none). Seeing as a temporal and temporary experience. Time and slowness are important in both making and viewing my work. I search for subjects or construct problems that push the limits of seeing to the point of impossibility and improbability.

Fragmentary and partial vision. Seeing piecemeal. Mutable, moving pieces coalesce into images and fall apart simultaneously, generating an order that is always already coming undone.

Copy, mimic, record, gather, accumulate, and organize information in different ways. Movement of the body, drawing, tracing, gestures consonant with observations – empathy, mirroring, enacting. (I.e. sensitivity to grasses bending slowly, thorns short and prickly, peony petals limp and damp, old tree trunk brittle and and hollow). Making as motor activity.

Practice, rehearsal, studies, experiment – test pieces for a presumed performance for large work collecting, compiling, organizing, rearranging, making sense of, finding patterns from all the multiples of small fragments, studies, pieces. A compendium of fragments and marks. Use of harmony, dissonances, chordal relationships, progressions, counterpoint.  The symphonic.

T F m
January 23, 2011