The third series of the 4D VyNIL cycle is titled “Currents, Flow and Reproduction.” The paintings in subtle aspects have come to reflect our environment, which is a potent NWC presence. The influence definitely expresses in the conceptual direction of the series. For instance, the idea of network culture, of work nets, has veered into a Real World analysis of cultural capture, not as an abstract consideration, but rather as a study of fisher and hunter society, in which nets are used to catch prey. Through new friends in Astoria, exploring the area, and the documentation of its history through a variety of means, the value of nets to support and sustain community life over decades is revealed. Net thus become a particular term, with direct reference to tangible objects. The Net as a 4D-discursive point of origin expands my original focus to new (for me) territory. I knew nothing about gillnetting on the mighty Columbia River before I moved to Oregon. The subject encompasses a spectrum of issues related to my doctoral interests. The industrial economics of fishing over the past several decades is consistent with commercial trends for this nation. It is problematic, complicated and bears heavy impact on the lives of those affected, their communities, politics and well-being. The phenomenon of Nets points to the difficult regional realities of post-colonial integration, evolving over time. Crabs, salmon and other sustaining foods have emerged as flashpoints in highly charged struggles among parties whose identity and livelihood is based on harvests of these creatures, and others from river and sea. The parameters of a 4D Net analysis can be set to emphasize the content that pertains to the substantial project of a NWC Net-story. How can one detach any such narrative from the others that typically define dimensional Oregon. These include logging, hunting and trapping, the mainstays of migrant settlers. The indigenous occupants of the country had to contend with the changes wrought by New Worlders. We can begin to therefor map macro-movements intertwined in American and global campaigns of war, politics and economics, and commence to trace elements appearing in current experience with their precursors and antecedents. Possibly we can develop some accurate predictions by evaluating the past and present conditions, events and trends. The 4D method draws from patterns that we can see in the world, and to a sufficient extent verify. The logic of Dimensionist analysis abides in the rationale for 4D painting and art, minus the names and numbers. The nature of expresses autonomy requires freedom from the nominal and numeric for the purposes of direct aesthetic transmission, from artist to canvas, canvas to viewer, in the context of time and timeliness.
The 4D art object may be re-contextualized successfully within its own progression of emergence. Like the history of Astoria, of nets, of America and so on, a 4D painting will have many contingencies. The Thing, of which art is one, embodies a practical universe of association. The linking of one thing to the next and the last is natural, a mode of reproduction, with each manifestation representing characteristics that connect it to others in the stream, or string. A lineal progression can be conceived of a series of points in a continuum. We can also imagine the Thing existing in a field of like entities, of created objects, being careful in our imaginary to not abandon the object to the presumption and consumption of categorization. The category is a utility of nomination, and the autonomy of each art object repels categorization (if it actually is art, and not the output of a machine). Reproduction and cloning or mass production differ in simple but important ways. In many instances, 4D VyNIL operates as a countermeasure to the operations of mass production. The covering of previous iterations, the re-purposing of Found and other types of “art” for the substrate of these new paintings suggests a geological foundation for 4D technical processes. Establishing continuity among art form and natural form is a function, an action, denoting artistic selection, choice. I would suggest that the operation evokes re-cycling as practical social task addressing the toxic idea of waste manifested in substance. The conjunction occurs between matter and The Thing That Matters, which is a scaleable construct.
It is in the finished art that the referential assumes a proper proportion. The sequence in a series of 4D art objects cannot be assumed to illustrate chronology as such. The proposition inferred in sentience is the underpinning of what is seen in art by the viewer. The dynamic is activation, which is infused with sensation, the sensual, our senses. A painting approaches the matrix of the sensuous experience for individual and collective through optical registration. It is not inappropriate to cite designation as a means to access what is art. The critical eye however confuses the interpretive mode with a special scenario for art creation. I consider such confusion to be an opportunity for education and generally invite critique in the post-studio interaction, as long as the critic is not interfering with another viewer’s experience of the art destructively. The studio is no place for a critic (other than the one, or the committee of critics, who can be located between the ears of an artist). The public space for art in free society is the appropriate venue for exchanges of many sorts. Yet is worth questioning whether criticism as such is merely weaponized communication, designed specifically to subvert or undermine democratic speech. If criticism exists on its side within an expressive hierarchy that contains art reduced to the theoretical, an argument must be made by the art to extricate art from any such competitive configuration. Art will always fail to be considered on its own terms in the critical hierarchy, since the two Things are not equal, are not the same Thing, and cannot be. Criticism is argumentative in essence, and to achieve realization must win. Art to be real must only be made to exist and by its existence succeed as art. For good or bad then becomes content for philosophy, for aesthetics, for critical theory and so forth.
THE END OF THE WEST
The concept of isolation must be reformed. Isolation is increasingly meaningless in the wired global new world order, except as an internal, psychological condition derivative of social engagement, or lack thereof. In the pure formalism of penal torture practice, isolation is a euphemism for complex brutality. The idea of isolation is integral to the idea of connectivity, as a technological aspiration. The space between us is the point of exchange. Interstitial life is, metaphorically, a ghost life, sentience spanning worlds and emptiness simultaneously. Words and gestural, performative and symbolic image project through the medium, an energized void, to bind one person to another, via shared understanding of the meaning of gesture, performance and symbol. The projection of language across nothingness is not art. It is however mysterious and possessing of causal potency. A bonafide (good faith) artist understands isolation as a fundamental component of studio work. A hermit commits to isolation for the amplification of spiritual resonance, the reduction of distractions. The recovering alcoholic must be vigilant to the pitfalls of isolation from his fellows. If the immersion of the individual in a collective engenders diversification of experience, the alternative is the movement away from the commons toward uncommon realization, if only temporarily. The perceptual quality of vision in isolation exists absent verification in the commons. For the artist, the process points to exhibition, so his isolation presumes direction. The others evoke an imagination of the promise of Wilderness. To have isolation enforced upon oneself, against one’s will or inclination, especially as punishment, is incitement to madness as a ruthless measure. The helplessness of being alone, when one longs for company, is a terrible affliction, one which scars, maims a person. Isolation for a prisoner is akin to slow murder, if one assumes we die alone anyway. The difference between execution and death by isolation is the hand of the executioner, not the will to kill. Isolation can destroy humanity, as surely as assassination. Isolationism for the globalist is a fiction, wrought to evoke fear in ordinary folk, for whom the specter of loneliness is an unwanted fixture. In globalist propaganda, isolation is simply the constriction of the desire for domination of everything, inherent in the ambition to conquer and rule the world and all worldly things. For the global elite, all worldly things includes everyone not in the set of super-class actors. Unsurprisingly, the role of art in service to global elite culture mocks the notion of isolation, except in its connotations of exclusivity. A cultural treasure sequestered in a castle owned by oligarch, serving his eyes only, is the cliche. When one actually witnesses a scenario like this, the gross failure of the arrangement is overwhelming. Inevitably the mad oligarch is insufficient to the masterpiece.