The Image in Revolt

“I’d still like to say how much I am impressed – sometimes with the cruelty of the imagery;
always with its impact.”

JH MATTHEWS 1984

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The Image and its Cruelty

Where does the image begin and where does it end? What constitutes the necessity for plunging oneself into the darkest inner regions to mine visual responses, then applied by paint, pencil or any other means necessary to express this image?
It is necessary to begin with the natural impulse through the relief of and refusal to allow the oppressively regimented politesse foisted upon us that we call “civilization”. This reverse demonology of “look but don’t touch” or “eat but don’t taste” runs counter to the primary impulses of man. These are rigid man-made concepts, and nothing more. The mere fact that these repressive dictates create more harm rather than good is less apparent than the restrictive narrow attitude this encourages that when viewing an image of cruelty by design it is repulsed rather than embraced.

Furthermore, Pascal once said, “All men naturally hate each other.” Is not the dark side of human nature, hostile, with violent impulse? Freud mentions the religious commandment, “Love thy neighbor as thyself,” and calls it, “a commandment which is really justified by the fact that nothing else runs so strongly counter to the original nature of man. ” This speaks for itself.

Again, Freud says that each one of us, drawing upon our own life experiences, can prove his assertions about the original nature of man: “The time comes when each one of us has to give up as illusions the expectations which, in his youth, he pinned upon his fellow-men, and when he may learn how much difficulty and pain has been added to his life by their ill-will. ” Additionally, is it not only our neighbor who harbors hostile impulses, we ourselves harbor them; Freud speaks of “this inclination to aggression, which we can detect in ourselves and justly assume to be present in others.”

To view an image; one must first begin with the process of letting oneself go into another level of awareness. This is not easily achieved, however as the natural inclinations, the natural impulses have been stymied and repressed by cultural inhibitors. Once these bonds are broken the opportunity to flow freely on subconscious or rather, semi-conscious levels are now in place. It is at this moment the associations between image and subject become fluid, free and the resultant climax should prove to be of interest after more than an occasional glance.

2002

Altered lithographs

In this method of exploration employed, it is objective chance that leads the way to the final destination of the image that which has been borne on the wings of desire. That is to say, there is no specific preconceived idea; perhaps a glimmer or fragment suggested by the base image upon which the work conceives itself. The alteration of the lithographic base image, obvious in its purpose and ultimate result, and the journey and evolvement the apparently disparate images suggest , are a direct result of this approach without concern for scripting or problem-solving. There is no solution for there is no problem. I abhor problem-solving.

Sometimes suggested images re-emerge at other points in time. The dis-association between elements brought together on the same two-dimensional plane may slip into yet another dis-association in another image base and this juncture is the threads that make up the whole of the matter. Many different methods and techniques are utilized for the glory of the final destination of the image and any and all techniques and materials are sacrificed to achieve this desire.

Series of images connected by the same root desire seem to be parts of a visual dialogue that can stand alone as word-image but somehow ‘sentence’ themselves when seen in a series. Oftentimes an object or image misbehaves visually and suggests an alternative, and this juncture of disparate associations encourages revisiting and redefining this dialogue in its disparity.

It is the ecstasy of this moment when one sees that object or image in a new light.

1974

Etrécissements

In the process of the evaluation of an image and what promise it may suggest to become something entirely new, this method of reduction allows us to reevaluate the image in a new revelation. This intriguing technique bears the most delightful fruits through its liberation of the image by the method of reduction. This transient process brings forth often startling results in a way that suggests an alternate sublime reaction to the subconscious impulse to remove something in the anticipation of improving how we perceive it.

1986

Excavations

At first glance, a collage of disparate images thrust together in the same spatial plane. This method of arrival, at this clearly visible juncture, is achieved by the folllowing method:
Apply two or more spearate images, one layered upon the other attached in loose fashion, and the act of tearing away bits of the upper image, here and there, to reveal the image lurking just below its surface. In this way the images are brought together in a rather jarring and forceful manner, with often marvelous results.

1985