Ad Reinhardt Black Painting No. 34, 1964, oil on canvas
It will be clear from the content that is forming itself on this blog that it has moved away from its intitial purpose, to track and trace my research with regard to the poetics of the literary fragment. Although clearly spatial concepts abound in the fragment [as pre-cursor to the hypertext] as within writing itself per Derrida’s ‘ecriture’ as spacing , the ceaseless re-articulation of differentiated marks in space…the phenomenal world as ‘a space of inscription.’
To be caught up in this conflated dialogue between Art and Language [which is entirely in keeping with my work as a spatial writing] is for no logical reason I can discern causing me to be vexed and subsequently to challenge the hegemonic position that text holds within my practice, which it does to the exclusion of all other material.
Having erased the stubborn stain that is the image, the figurative and colour the content of my work has been reduced to the conceptually complex line, this I feel is also an issue, the line itself being so well worn you would think it would be worn out by now. Also when one has reduced the work to its barest essence how does it expand again toward a fullness, a roundness, a volume?
In clearing a space to break new ground one often ends up going to extremes and latterly I have found myself looking at spatial thinkers and artists both in installation and the plasticity of 2D space [Mondrian, Albers, Lissitsky, Maholy Nagy]. The line, the grid, space as content as opposed to merely the conduit by which other content travels. I sense myself falling into oblivion…sounds like bliss or…
For a brief informative article about Abstraction see Issues and Images of Contemporary Art for Abstract Art: The Redundant Term?]
Text by Carrie Noland from Graffiti and the Reinvention of space from Orientations-Space/Time/Image/Word: NY 2005 pp.309
