Tuesday, September 28, 2010

What are you, twenty something?

Hi. My birthday is October 12.
I barely ever buy anything for myself, but if I did, it would be some of these things:
Wish List
Better, you could make an offer on a painting.
Sometimes people give you a favorite charity. I don't have one right now. A cancer research fund I have never heard of gave me (and probably all my neighbors) a lot of kitschy address labels I will never use, instead of, say, finding a student to put through med school, so I'm leery of how much money charities put towards further fundraising over shopping for places to put that money. But that's irrelevent, and more a way of me saying that giving me a birthday boost actually kind of is charity because I'm pretty sure most panhandlers make more than I do.
Paypal goes to jupitre@gmail.com ; you have to make sure to say it's a family/friend loan so they don't take a cut.

I haven't been openly bitter and cynical for a while. It feels a little weird.

Thursday, September 09, 2010

Post Hoc, Ergo Propter Hoc

2010, oils on canvas, 54"x42".
This took a year to complete, mostly because I've been taking a bit of a break from painting to curate a lot.
I was thinking about constructed causality, consequence, and how easily we mystify. Post Hoc is the "correlation implies causation" logical fallacy underlying much of religion and a great deal of bad science and rhetoric. I like to extremely remove it - to live in truth is to live in doubt. Although even drawing that connection is a causal relationship subject to methods of disambiguation. What does this have to do with insecty elf robots? Nothing, basically.
I did start with another astrophysics metaphor: the binary recurring nova system as a feedback loop. As in Veritas Odium Parit, a painting preceding and arguably causing Post Hoc, personal communication represents mass gravitational interaction. I kept going with redefining paint as figure until almost nothing was only itself any more. The scale has been reduced somewhat, and the interaction is asymmetrical. There are distinctly different regions with expanded rules for visual improvisation. There are fewer illusions of depth or animism and more archetypality and cartooniness to forms. The evasive mosaics are solid pixels rather than mimicking compression artifacts. What do you see here?