The Tate Gallery website defines PROCESS ART “the term process art refers to where the process of its making art is not hidden but remains a prominent aspect of the completed work, so that a part or even the whole of its subject is making the work”
I understand the act of drawing as a bringing forth, a way of connecting with the world and a drawing out from within. When embarking on a drawing I see the context as the laboratory for the practice – each new context yields a particular assemblage of criteria and elements for creative play. Part of the making is a an invocation to these elements, a spell binding to bring forth this potential, it is important to remain very open at the start of a project to allow for a gathering of parts, protagonists and behaviours – and then a settling – I think of it as a stirring of the ground where seeds can find purchase. Nurturing and honing comes later as the form takes shape.
I have had a clear out in the studio, various drifts and collectibles have become salient. In the studio I am alone and in tune with R Serra’s verb list with my ‘of gravity’ and ‘of entanglement’ forms working ‘to hang’ ‘to unloosen’ and thinking about drawing in space.
Listening to Tim Morton’s lecture Nature Isn’t Real
On the fragility of lichen – where algae exists symbiotically with fungi o-o-o – if a thing exists, it exists in the same way as everything else – in this discussion about a flat ontology (but not a flat ethics) Morton proposes a new term, Implosive wholism (subscendence) where the the whole is less than the sum of its parts, and an argument for interconnectedness.
the branch of mathematics which deals with the formal properties of sets as units (without regard to the nature of their individual constituents) and the expression of other branches of mathematics in terms of sets.
The ecological thought does, indeed, consist in the ramifications of the “truly wonderful fact” of the mesh. All life forms are the mesh, and so are all the dead ones, as are their habitats, which are also made up of living and nonliving beings. We know even more now about how life forms have shaped Earth (think of oil, of oxygen—the first climate change cataclysm). We drive around using crushed dinosaur parts. Iron is mostly a by-product of bacterial metabolism. So is oxygen. Mountains can be made of shells and fossilized bacteria. Death and the mesh go together in another sense, too, because natural selection implies extinction.