Ciphers of Recollection - RCA
Painting exists as a mode of memory and functions as a recording machine of this.
In turn this is made manifest as different velocities and as different registrations of surface. Thus painting is able to reshape the experience of time through the process of interlacing experiences of duration. Short term memories might then become reflected within hidden layers of the painting recording as a deeper sensation of temporality. This is the sort of paradox that painting entertains within its powers of interplay. Likewise painting might proceed through a series of erasures as if in
forgetting perhaps as a means of losing the content of memory only to discover another location for it. So layering becomes not only a formal means of building surface but an indication of the interlacing of matter and memory. Painting is therefore a loop not only of mind and matter but a practice whereby the indefinite recording of entry and exit points to such loops are in evidence. That is why a painting cannot be read because it is born out of an act of continual restaging or becoming. Both painters share a sense of this delicate balance between things being
in place and striated in order to resolve or occasion the struggle within painting to become sufficient. The shine of a painting is nothing other than the appearance of a hidden gesture which is without surface. This comes out of a process that excepts not only the nature of transience but the registration of release that issues out of the struggle to record this within a surface in which something is displaced. The hidden
pulse of painting derives from this process.