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The Crowding Series The Crowding series began by revisiting the concept of landscape. The genre of landscape painting typically produces a representational view of the world in styles ranging from the picturesque to the sublime. Hyper-industrialization, ecological degradation, population explosions, resource wars, and many other issues have all been recognized as forces acting upon and within our world's landscape. The representation of these issues has generated powerful imagery of deformation and defiguration of both the local and global scenery. In both of the new emerging ages of information and biology, our minds have never before been able to envision or perceive the type of contraction and expansion of scale that now surrounds us, near and far. Where do we define or set limitations on the depth of the contextual field we explore with our mind's eye? Everything from diagramming the human genome to mapping the expansion of dark matter in the universe has increased, complicated and affected our spatial perceptions. Empirical vision based on experience and observation has been thoroughly mediated. As a result, the way we see the world is an ever- morphing accumulation of cobbled together perceptions, cognition and thought, spanning vast distances while simultaneously compressing information and time. We are increasingly operating in an intensified aggregate of unprecedented visual input that is thickening the atmosphere of an encrusted complex worldscape. To say we are operating within an intensified aggregate is to imagine a place that swallows observation and confronts the senses with a tactile saturation of truncated information, delivered visually, weightlessly, and patterned to a hyper-manic rhythm. This layer of sedimentation actually becomes more complex when grounded upon an encrusted worldscape. The earth - under there somewhere - both resists and grounds the structuring of our world. Pattern upon pattern, buried, embedded, anchored, poured over, under, and over again, built across, through, over, and upward, clustered, sprawling or densified, the repositing of the great standing reserve of both precious and utilitarian materials make up a contextual crust both measured and mapped. However lasting these patterns might sound, we are more accustomed to their breaking down. The erosion of time triggers the process anew with the next layer, smoothing things over into a newer and thinner homogenous pattern. The confluence of these ideas becomes a point where language translates into a type of visual diagram, or conversion, into form signs grounded upon the surface of the image. The Crowding series imagines a constellation of form signs configured into image containers. Evoking the idea of "container" establishes the physicality of the image object as a receptacle for a crowding of disruptions; sedimented, striated and marked by fault lines. A stratification of one aggregated ground embedded in another. Within this image place between fields of intensities, the dematerialized figure is evaporated to a cursor of address enveloped in a transient drifting ground. Even communication can't escape entropy, as thoughts break down into displaced syllables, or reason becomes a scattering of vowels and consonants. This is a crowding aggregate that confirms rather than contests the temporality to which the images (and we) are subject. |
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