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With orgone there is this concept of a material thing to combat the immaterial, the metaphysical undercurrent. I resonate with that. I create indifference fields - possibility space. The summation of energy and efforts inclusive of both positive and negative seems to be at the core of my interests in abstract drawing. A gateway mined through basic filters, a battery of material facture, and a physical monument to its own quirk.
Evolving in the same way initially this piece eventually garnered more positive spin in its dynamism than some of the more sprawling chaotic independence-asserting drawings I have made.
Within abstraction there are principles and modes of what exactly is the abstract. For some abstract is merely a visual term in distilling down to an essentialism - a beauty reclaimed from 'unnecessary' extensions of a thing either naturally or man-made. For others abstraction might imply building meaning non-linearly or simply non-representationally through a symbol. My use of abstraction means 'portal to unknown', forms that take on new meanings almost entirely by the way in which they are made, not necessarily the way of which they are intended in the commonplace. A use employed to another use - as seen in a David Lynch sequence as opposed to a hieroglyph. The object that DOES NOT take the route of basking in apriori - the color spectrum in Ellsworth Kelly or the electric spaghetti of Pollock - but the Rothko; Mr. Sony of singular zen output in canvas space - Buddhist TV
I was told numerous times by different people that I should take a time lapse documentation with these kind of drawings. I have yet to follow that but I do have some shots showing drastically different parts of the process.
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I began with a section of a found drawing which consisted of opposing triangles forming six pointed star shapes. I often pick a source material based on its proximity to what I am trying to create...not exactly what it is subject-matter-wise that I want to communicate. Its usually one step removed. I tried to lay them out in such a way as to create a circuit that was to move all directions with a very literal interpretation of ever-moving life cycles, reincarnation, what have you. I began to guide the space in an even more literal blue (heaven) red (hell) depiction. This ultimately wasn't very exciting. I began to muddy the horizon by taking different permutations of reds and blues into each others' sphere. I then tried to pull out other visual forms (like a snake). These were unsatisfying and involved even more erasing. In the erasing it became more like the orgone accumulator in its metabolic smithing-type process. What made more sense was as usual articulating all the small modules and then wrapping them together which meant more bands and no negative space - an entire surface field. Essentially using just the layered waxy pencil as material instead of bits of physical matter/iron etc... The reason I like to use pencils is it is one material and there is no real thick or thin or other things so its one rigid component to play with and push to a breaking point. Pencil strokes here simulate building, wrapping, layering and atmosphere and the sensory - vibration translated on a singular viewable channel. Painting to me – even abstraction – is inevitably tied to picture making – placing something in a window. When I make paintings I’m trying to hang out in the corners of that window. Drawing is more like running a construction crew of a megalopolis where everything is out of control. Staking out territory. A storing up of freak vibe for free space.
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