The art of our earliest ancestors is compelling, so I was interested to look through an article (see notes at end of post) in my inbox, which has triggered the following post:
Some time ago I did a series of paintings in which, amongst other matters, I was interested in trying to commune and reconnect with the time when we first tried to make sense of the world, our consciousness emerging. All of those paintings were vital to the formation and development of pictopoiesis, each one in its own particular way. The thread of common descent is maintained in pictopoiesis, origin always has its echo. Those earlier works are the common ancestors of my current work which includes digital pieces such as Fabric of Common Descent (video).
A few of those earlier paintings are shown below. As I look back over them I recall some of the individual threads of pictopoietic thought at their conscious emergence. These threads have a contemporary context in, for example, the correspondences (threads that connect) between pictopoiesis and practopoiesis.
In terms of recalling my thoughts in general, in these paintings one pictorial element I had in mind was line. I saw the line as taking the form of a feeling, exploring limb, endowed with haptic perception. The line explores, extends, grows, is cultivated, and where it finds a point of contact with another form (which may also be no form at all) it often develops five finger-like branches. I wanted to state as a fact of the painting the human hand that makes, as a truth equally general as it is personal. In the line exploration, the line as it grows (is alive) senses the presence and proximity of an other form. The line is therefore able to alter and modify its behaviour, and is altered accordingly, as it “thinks” its “intelligent” response to that which it encounters on its wanderings. Line is an active element throughout the painting physically and metaphysically, materially and immaterially, keeping idea and technique inseparable, weaving them together
The above mentions a few of the things I am trying to articulate more clearly in the unfolding of pictopoiesis. All of this is a very long work, the rest of my life but it has already taken me most of my life so far to be clear enough in my mind to be able realistically to contemplate doing this thoroughly. I am not meaning to put an interpretation on the paintings, not at all, rather to try to say as truthfully as I can what went into the making of these paintings, as something only I can relate. I feel this is important, it is for my own interest and satisfaction. But importantly I would like it to be in a form that has value to the wider world, hence my persistence in trying to articulate pictopoiesis as a general theory of painting formation, not confined to the individual practice, out of which it has emerged.