How does a rhizome excavate no-space? Chiefly through overwriting i.e. the Buddhas tree is transplanted and so is the philosophy or a single Banyan trunk spreads to become an entire forest of which the original cant be detected from the overwriting, or in animal behavior porcupines flare their quills in  herd setting each other off in a ripple  or in human behavior Aeschylus describes signal fires lit from Island to Island…

No space is the emblematic removal of a visible ground of events, replaced by a blank slate- the Minimilist for example dropped out the backgrounds of the photos of their sculpture, whereas  Brancusi, the first artist to insist on photogrphing his own work in its studio context , exlusively at his handiwork, while keeping the studio as intact as possible was the opposite impulse that authored the corolary. Therefore an abstract of the present work would take into account the elision of ground in cyber drawing to be something more like alluding to the sound of a slide guitar which overwrites specific key. Along the way the computer “button becomes different thant the pictorial “block” and “tiling” is different than pattern.

Description: the work plays with and overwrites into the idea of a cornea as reflective of visualization itself and thus a meta-tropic devolution out of which the chambering of the eye and a link of reflex and reflection to cortical integration keyed to over all psychic phenomena form a basis to lead tiling as an interrupting of history via perception paired with an internal view or far vision brought to surface , like looking into someones eyes. The tiling was formed on tilted arcs of Asian carpentry cognates which receding into a detail status emerge very differently when the overwriten is subtracted through the very process of overwriting.

  Has the feeling of the Hawaiian Adze Quarry on Mauna Kea…prodigious chips flaked  and half formed stone  adzes , local culture children given Asian puzzle balls- interlocking units used in ancient carpentry to build without nails… the ideas combine in the abstract loop I insert into the cyber sleeve and a reflection as well on Holymeaumeau- crater dug by meteorite below the slopes of the volcanic craters, the moon itself most likely the carved out mass extracted from the Pacific Basin…

Given the apples you did not eat may not have been mine nor any of them  belong yet to any entity but knock around the art of old New York this is a monument for Little Italy where it no longer exists Our Lady Of Pompeii must practice patience for the moment to moment… Sincerely  Yours: Outline Of An Apple…

The gaze is never really locked into the surface- rather it spends a fair amount of time suspended between the vectors of intuitions that incorporate visual focus and scan to bodily orientation and spatial dynamic trinamic or kin. The material, fluid, gas dispersion of particles in physics of elemental situation is complicated in cyber space to a spectrum domain where visuality arrives through the sleeve of scroll space queue that no longer is really a surface upon arrival but rather a matrix of electric cells.

Ther-e fore the tiling I use are actually pictures condensed and represent a symbolizing process of  the number of times the gaze “carries” And what does it carry? What is in the package?

  Description: The work states surface tension by caontrasting an embossing functon with the “live” field which states to the “button” edges.

Abstract: the embossed field as a quotation of printing creates a mirror, and a rotating mirror as well. These element in so contrasting place events to a devolving of mirror to mirror that reprsents the intuitive dynamics the idea of rhizome symbolizes in and of itself.

Description: The work introduces interruption within the button field that separates looping elements through a variety of means that include distortion, marking, color, cantilever and offset.

Abstract: The iidea of the work is to keep finding different angles to the idea of a loop.  iN general a rhizome is a state that can be reproduced in terms linking abstraction to human activity as recreational including the famous rules of the game of formalism. The non material status of rhizome makes game rules a different mode however, because it is generally a state of overwriting…

Description: The drawing appears replete with marking and leaves open space and button bevels to reflect in grey and whit on the eventsof marking across the spectrum.  Some forms are drawing with a haptic touch others are consequential to misusing a border device to essentially draw with…

Abstract: This is an example of cyber “logic , the use of a non-marking software to excavate a path is a non marking, while the use of distortion upon drawing elements subtract the element of original intent.  Marking thus both exists as such, but also has a kind of reverse mirror.

Description: The work plays with kinetic sculpture feeling by placing transparent and opaque maninulations of matrix elements in the virtual sculpture realm of the computer button.  The forms have a compression of pattern and a haptic drawing sensibility combined to generate a contradictory field to sorting.

Abstract: The early ideas of building sculpture oan a skeleton that opens up that frame to an environment of transparency depends on a material comparison of form to  form as evidenced in early kinetic environment artists like Jesus Soto or Nicholas Scjhopffer.  Howecer in this drawing those ideas meet the contradictory reality of cyber space in which the object becomes its own subject an subjec its own object to afford then the relief elements of a moment to moment realization to metamorphosis and meta levels simultaneously.

Description : The computer button is offsetby sriping ( and in fact also created by it)  while the  color space in relation to stripes  offsets line and mass as mirrored in  haptic drawing function shown in a very minor key.

Abstract: The Site/Non Sit idea of Smithson invites a reevaluation of how formalism functions in cyber art: is it the same?  My feeling ti that the meta levels of the computer art work are embedded to zones rather than sites , but have  a comparable sense of intersting psychic distance.  owever the distance also from physicality posits space itself to metamorphosis within means.  This Deleuzian idea as it encounters information theory alters the original sense of visual psychology to a transformative neurological model of bodily presence within the encompassing visual continuum which as Gustav Metzger said means ” the artist’s entire viual field becomes the work of art”,