Cole Cochran
Untitled
Painting is a means for moving ideas - building form through uncomfortable feelings of doing. Its uncertain gestures and decisions are compressed as an awkwardness - a dialectic that mysteriously asserts itself in spills of colour and frenetic pastel scratches. These haptic processes describe new ways of doing which are stopped and started in waves momentum, as things are risked and found through temporal and imperfect decisions. It is these oppositions, this precarious relation, that makes painting a delicate doing.
The speculative philosophies of Alfred North Whitehead, Giles Deleuze, Felix Guattari, Rosi Braidotti, Isabel Stengers, and Sam Mickey attest for processual ways of living and perceiving that disclose subjecthood and affective relations to the many things and bodies within and around us. These affective processes I imagine in painting, as a self-determined resistance to sameness that is marked by progress – a kind of nomadic philosophy. Abstraction’s ineffability, its failure of description enables a potentiality that encourages fractured and intuitive realities. Impossibilities that emerge through various marks, speeds, and productions - like when form tries to match feeling yet fails, revealing something stranger, something new. Painting is about being attentive to these changes, creating energetic yet careful gestures that wish to increase the speculative and the unknowable through a persistent looking.
Painting is a means for moving ideas - building form through uncomfortable feelings of doing. Its uncertain gestures and decisions are compressed as an awkwardness - a dialectic that mysteriously asserts itself in spills of colour and frenetic pastel scratches. These haptic processes describe new ways of doing which are stopped and started in waves momentum, as things are risked and found through temporal and imperfect decisions. It is these oppositions, this precarious relation, that makes painting a delicate doing.
The speculative philosophies of Alfred North Whitehead, Giles Deleuze, Felix Guattari, Rosi Braidotti, Isabel Stengers, and Sam Mickey attest for processual ways of living and perceiving that disclose subjecthood and affective relations to the many things and bodies within and around us. These affective processes I imagine in painting, as a self-determined resistance to sameness that is marked by progress – a kind of nomadic philosophy. Abstraction’s ineffability, its failure of description enables a potentiality that encourages fractured and intuitive realities. Impossibilities that emerge through various marks, speeds, and productions - like when form tries to match feeling yet fails, revealing something stranger, something new. Painting is about being attentive to these changes, creating energetic yet careful gestures that wish to increase the speculative and the unknowable through a persistent looking.
