Compression of Files and Pressure of Hand

I will own that art is a physiological integration that I express by mediating photography and drawing beyond their implicit sets of environmental information and sculptural suggestion into a dimension of freeplay beyond easy analogy- (there is analogy and then there is analogy). Physiological functions are reflexes integrated at the cerebral cortex where drawing and its conscience (trope) are philosophy-love of knowledge… and language building as a personal history that tropes to history itself in all kinds of variety and media.

To put it more simply if you look at the water while you are fishing the forms within become very strange as you become distanced from familiar cues. I dont fish any more- animal cruelty… history revises meaning. Likewise if history is already revisionism from the get to ( revise the vision… look again…)   then the histories we regard as faulty as they encounter oedipal intellectualism are nevertheless good stories… they are the lies that may or may not tell the truth. Art as the lie that tells the truth is a phrase Picasso borrowed from his poet friends and it shows the Modernist sensibility… Modernism for which we may mourn was linked to Mannerism and physics ie the relation of sheer and torsion energies to art and industrial forms. Leger who served in the trenches well knew that the elbows brought in as a unit by the bicycle rider reflected on the same motion of the machine gunner…. he tried in the image to redeem the forces of war and peace just as Michelangelo and Davinci could use the same aesthetic to paint and design war machines.

With Benjamin, the found object and more and more sophisticated technologies with an attendent camera ( just as different art movements always have a realistic painter sidekick who somehow assimilates)-a new day emerges in Contemporary Art where to begin with artist and critic begin to merge, the artist is critic and the critic is artist but lately, like Smithsons Enantiomorphic mirrors they cancel each other out because of the pursued option of the non artist idea… ie the non author aesthetic which dominates contemporary perception. What happens next is the emergance of a curatorial impulse… curatorial means caretaker and the impulse likewise makes art an”activity of daily living”  your basic ADLs… artist are more likely to be involved in curatorial efforts…sort of like children who save old sewing machines and computers to finance community efforts to build hospitals in Shangra La.. it sounds funny but then again whats wrong with that?

The original cult of the found object created a history and this history in its multiplicity meets the vastness of industrial output along the way… found objects become ganged, larger and more particularly modified by all the things an artist can think of to do to a found object which starts to have over tones of Lacons psychology. What interests me is the need to bestow the artists special moment to the object as a moment of sensation… in a way returning thereby to Cexxannes “little sensation”… the whole mannerist tableau…. and to review create an impromptu history if you will that tableau became Morandis table and drawing and forms were expropriated utterly by Serra while also Stellas stripes syndicated the drawing hatch and Warhol cheerfully took the bottles (coke bottles) and said hello goodby with Elvis drawing…..and Warhol could draw pretty much like Morandi on the same paper – was his personal “Maralyn”… but as they all say for 15 minuts… I digress…

I personally find the found object in the digital virtual realm…. and it intrigues me to compress images to stripes… this new found malleability really returns to mannerist sculptural tropes of stone and clay malleability ie the tracing into materials of sheer and torsion potentials. Also, in the process of imbedding photos in photographs the difference in detailing between the modus operendi  of the drawing and digital dentsity of the camera even as imbedded likewise plays out a drama of suppression, compression, a malleability of form linked to the real world beyond the two dimensional and the fantastic strangeness by which in the three dimensional world crossing centers meets a mirror image in the turning…like a tornado….( Michelangelo placed a kind of tornado flourish as his signature on every drawing).

Now what I say is just a history, a narrative, a personalization…. but what has a kind of objectivity is that artists are more and more interested in recognizing that they arrive through their art by beginning with a preindustrial sensibility name their own bodies and they are more interested in bringing sensation as a recourse of a specialness to their moment as their delivery.They are less interested than some of their predecessors in these energies over malleability as ” making” and present them more as mediations, interventions words oddly out of the vocabulary of occupational therapy…possibly the contemporary artist is a species of occupational therapist…..involved with the activities of daily living….but then again that is just another lie that may or may not tell the truth… All in all an excellent image of these topographies is Gene Kellys dance where he rips newspapers with his feet… in other words the film studies its own cutting floor……