For Archives Projects and for Porta U Drawing& U
Notes on Bal- Quoting Caravaggio:
White- my personal take on Baroque on the period sense of enfolding of color, form, and psychological projection embedded to mass as a concentration picks up on the relation between value and hue spectrums. In particular yellow when concentrated can exist in relation to white as both on the same positions of scale but on different spectrums. A Dense yellow in relation to a transparent white then becomes as it were the black of white according to the availablehue told to density. This has meaning because the painters were using impasto and also they did not use the gessoed white that began with impressionism- they painted on a dark ground. When Degas draws a singer and uses yellow highlights that over ride the lower notes of charcoal and compete with the black itself, he is creating a witticism as (this) theory. Bals notes on Caravaggio take formative genesis from a relation critically between Deleuze and Leibnitz to establish a view into levels of perception that correspond to her own interest in narrative levels. I myself am interested in the narrative levels of abstraction and so we share the common availability to realizing out of philosophy where these levels maintain cultural interest and continuum. My emphasis however is that Leibnitz deserves greater recognition as a Heraclitean, and indeed Bal does use the phrase “turns back on itself” to present the great motif of that philosophers poetic. Philosophy , as It becomes psychologized , is interested in the projection, and Bal picks up on this . Before going there however I want to backtrack and review a formalism which is that the mideaval mind projected sculptural form from the surface plane into viewer space, like a bas relief, and color contributed a narrative that played with the ambiguity of the hue in relation to the precision of Monochchrome( ie the heavily orange bible characteristically practically leaps across the viewers room). Bal goes into exquisite detail in accounting for all manner of cultural imbedding between history past present and future now taking into account the nomadic modad or realizing into point of view. Heraclitus in describing the universe in terms of forces also seems to have been creating a metaphorical language that could assimilate the social, scientific, religious, daily living, poetic, – all social construct and material and this source was then the lense of Leibnitz that Deleuze psychologized inversely by returning to poetics of a critical turn. In other words the site-non site is a materialism/non materialism broach into subject as object and object as subject within the conditions of interest.
As an artist I think the language construct of drawing is best returned to genesis formally from point to mark to line to plane to mass to project and projection. The important word is “mark’. This has the connection to “sign” that then makes drawing very conversant with the spoken and written forms of philosophy and crtiticism. However some wedge has to be placed before the wheel is turned or else talk is just talk whereas art contributes plasticism, the underlying form that generates the mere images which of themselves are paragons of the industrial mind. Images at this point need more construction than they may need deconstruction…