Edwin VanGorder
Since 2010
Works in Madison, Wisconsin United States of America

I am a cyber drawing artist interested in building my archives as my art form which integrates trace both in the sense of genuine movement and prosody as well as the sense of semiotic blending which creates unusual architectures out of drawing as a cross-disciplinaric rhetoric or morphogenic agency of becoming.
Discussions (19) Opportunities (0) Events (0) Jobs (0)

Motion Sensor Drawing: Orbidden City from Frotage Rd


I become interested in the "Orphic" dimension- the word informs both "morphic" and "form" and the relation of "Orphism" by which the Delauney interest in dyes ( osmotic consciousness) and the proto targets he and Dove seem to have engaged as image constructs that influence for example the Guggenheim as ramping up the sensibility of the bow and the lyre- of a circumference or comprehension that calls attention to the circle of consciousness...
The Greek eta and mu as mirror images for mysteriously to the borrowed letter h which is the "hard breathing form of eta and combined with x is "hu" meaning both report- roar of the crowd lightning bolt whip crack etc. and also dawn thus roar and aurora have this osmotic quality. The Orphic distinction of Apollonian and Dyonesian chords threads and strings of association receive my motion sensor drawing moods and modes. ( hu+ amain or direction gives a kind of arty etymology for "human"
Along these lines I also created an interactive for Archilovers - i use the site imagery of ongoing constructions to build my own environments see



Rates Of Return

What emerges consistantly in all these experiments and ephemera of yours and mine are the transposals of experience upon organization. On the mythos level shades of Jim Morrison the scheme of day people or night people mint the coinagle already where perhaps the genius of day blossoms on Corots morning or perhaps the humors and travels of the day are conversely realized upon the graceful night. You know who you are.
It intrigues me that digital works are prone to rifs and covers via the origins of electronic music, and that is a good thing that needn't be totally lost in original ideas.
Art Narrative Image 1"
Since much classic imagery stems from the act of reconstitution prepared by placing animal skins back over the sacrificial bones and since for example Corot like painting that reconstitutes the world does so on canvas flesh over stretcher bones and likewise videos of unboxing are a rif I return to via the idea of using a golden section grid and placing the skin of images through the sections in a way that stretches them by dimension... and the image in a sense becomes a rate of return or the measure of change a system sustains ...
Art Narrative Image 2
Or one could set an imagery of sculptural reveals sunk and rising from vestibular veins and pace vision to interframings of photography in different time line modes and then will show in use of digital rythms the drawing that displace push and pull to different names.


Required Reading

Thanks for this post... for a while I have been working with the idea for creating diverse shows stemmimf from a flagship concept of "tropentropy" to coin a phrase and this project of the articles note really gives enormous insight into those potentials.


Required Reading

The observation on ritualistic unpacking reminds me of The Lost Meaning Of Classical Architecture by George Hersey in which he regards the origins of much of our classic ornament as deriving from animal sacrifices in which the hide was reconstituted over bones as an act of propriation to spirits, and from this he devolopes an etymology for the word trope... the significance for art being obviously that painting of canvas skin on stretcher bones reconstituting the world -were a first siting of the idea of the herm or garlands to spoils or statues that symbolized art attitudes within art....at a time...
But I think more likely the box represents the subconsious, that as Freud put it the "subconsious is like a person not master of their house" No one really knows what is in the box. The first Architectural show on deconstructionism at the Moderm featured many models by the diverse architects that used wrapping paper to symbolize I suppose the packaging process that accrues to "reading " imagery.... divestiture of intellectual baggage and creation of cultural architects and artifacts are an odd trimarine....


Self Possession Of The Devil : Glory Of Formalism

Technologies of emerging practice interrupt formalist tendencies and that is all to the good as far as that goes and is politically correct ...yet in observing the formula- human interest curating good, artistic ivy tower elitism bad, I enjoy in Rhizome a more balanced and would enjoy as much an even more balanced reporting on the broader scales of interest that play into the spectrum inclusive of (horrors-gasp) formalism. The recent article on Mungo Thomson succeeded in a very funny way although possibly by accident but I will resume to that...
I worked running prints for some time at Gwathmey Siegel Architects ("definitely" formalists and their mantra is "design development")For National Blue print (Rauschenberg had the same job, did some experiments with the paper and was famous, I tried a few things on the paper and was practically arrested) and the kickoff architectural show at the time and at the Museum Of Modern Art was I think called Decontructist Architects and Eisenman in particular was awesome. The context for deconstructionism was presented in the context of many of the architects working with wrapping paper the idea being the packaging of imagery that is our modality for better or worse or worser as the singer puts it...

More currently an article in the British drawing zine/site Tracey proposes more "spit" in drawing digitally for example , meaning inner conluence or identification to "the mysterious fluide of life" as it were... and bringing I suppose closer to the digital surface the worn color sense of Tibetan prayer flags and such....
I see in my minds eye a not so hypothetical artist I call Quaker Oats who realizes the appeal of older imager but modifies the way it comes accross so it makes it to the contemporary visualiztion zone of comfort and likewise ages the look of contemporary modes to give the middle ground zone of comfort...the middle class adores him....nothing wrong with that, in their better moment they used to adore Morandi- no thats not true Morandi is an artist's artist I almost forgot.... somehow I see an 18 century comedy of manners but at the constume ball one person is dressed in contemporary coat and tie and is talking about oil spills and a few "capital ideas".... Anyway- could a new formalism find genuine energy without going fascist? I definde formalism as resolving approaches to philosophic concentration and the love of knowledge that is more than just love of technology.
The recent article on Mungo Thomson in Rhizome which concerns a very old school conceptualist approach on Thomson's part similar to Asher in its sympathy for formalist inspiration discloses Thomson's approach of husing dust largely human cells that settle to celluloid when he invents the video negative and the dust of the archive environment that has gathered....anyway its a kind of gentle cannibalizing of Morandi's dust...People often miss the point that Thomson is making enormous fun of the often fatuously espoused principle of human context per deconstructionist mores while also staying very serious and true to his principle of editing which is what I mean by old school... for example his project to edit the Road Runner from the landscapes that enclose him or Art Forum articles from the advertisements that surround them ("cut to the chase and quick") the project being perhaps a Quaker Oats mix of Morandi and Roadrunner....