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.
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The Varieties Of Experience (2008) - Mungo Thomson

The fact that dust (of interiors) is largely human skin helps explain why some Yogis can live off of air perhaps, it is a gentle cannablism as is the borrowing of Morandis dust by Thompson....


Call for Papers and Proposals

Yes, I believe I will be very happy to forward to this forum the comments I submitted to the Rhizom discussion thread but which didnt quite get up front to the effect that the ephermara which artists propose have radically altered the found object take on publishing(which has itself become an institution salient digital modes imbedded to curating, gifting, zines, print on demand resources, real time on line residencies etc. and which once were a focus on marketing are today more open to Robert Smithson's critique that the marketability of art is its weakness. If the found object as an initial thread of artsits ephemera has become an institution itself its Institutional Critique may well be a passage from anti art to art for arts sake and this betokens the all liability of art criticism at the end of its age to philosophy as a closing of the circle and what is philosophy if not art for arts sake.
My enthusiam for digital drawing as a mode that states physicallity formerly of sheer and torsion of traditional means to a linking of the human reflex arcs cortically integrated as rythm in relation to the computers own scrolling process is passion for a medium that I believe is most beloved in the UK. Why? A hint for me was having the BMLP ask me for an abstract of my blog and the British Minority Language Project works to link productively the diversity of dialects in the UK ie Scots, Ulns, Manx, Welsh, Guinea, Gaelic, Irish etc . I had and do observe in my blogs that drawing is like pidgin english of the visual languages, ie it is not a bastardized version of another language but rather has its own innate language impulse and is a structuralism.
I believe the passion for digital drawing and drawing in general in the UK ie www.drawingpower.com, www.c4rd,www.tracey.com, The London Drawing Room, www.creativityandembodiedmind.com,INTUT, etc... has to do with drawing as belonging to language building and sharing, and the digital realm in its new incarnation as language promotes or can promote a new commonality within diversity...If trope is the art imagination and if entropy are the measures of change a system can withstand digital drawing is a kind of tropentropy of drawing becoming philosophy as well as ever it has.


Post Decontstructavist Intuition

The ephemera which artists propose have radically altered the found object take on publishing( which has itself has become an institution). Publishing which once implied an absolute focus on market immersion and penetrating markets has now in the hands of artists inventions made upon publishing salient to curating, gifting,POD resources,zines, real time on line residencies etc are not without specificity but the feeling of linkage is more mercurial, osmotic. There for the institutional critique made upon the ethos of the found object is a passage from anti-art to art for arts sake and in the closing of the age of criticism the fate of criticism is to be all liable to philosophy, and art for arts sake, and after all what is philosophy if not art for arts sake?
The flow of a culture not content to be homeless may also be ready to discern a rather authoritorean content to the idea of frames of reference given that nations and brick and morter galleries alike yield to a porous transparency of art intent.
On the dialectical technical beat of emerging practices which Rhizome details minute by minute there is to my view a tension between on the one hand the structuralist paradigm Heidegger marks by paraphrase of Kant:" the conditions of the possibility of experience are simultaneously the conditions of the objects of experience" and on the other the more phenomenalogical view put by the underrated Mieka Bal:"topology destroys linearity by making embedding not sequence , a principle of narrative time: embedding- and enfolding of one thing within another, a body within a house".
Tropentropy is a phrase I coin to view into the phenomonalogical -structuralist tension by considering the conciets or border bending context leaping jumps of the artists imagination over categories ie the fabled "trope" and the condition of the passage of this state of mind within art works as process. Entropy means the measures of the degrees a system can sustain to change. To me personally this resides to a great degree in the relation of drawing to the grand panoply of technical platforms from the vantage of a simple level: digital drawing. Whereas formerly the drawing room was the body (of work) withib a room the digital arena is a scrolling activity between the computers mode of scrolling and the human body which operates from a vocabulary out of reflex arcs which drawing integrates towards language from our earliest age.
I was surprised at a moment to have the BIMLP ask me for an abstract based on my blog over at http://blog.drawingontrope.com which belongs aslso to www.drawingontrope.com my site. The British Isles Minority Languages Project gives me some insight as to why digital drawing is so immensely popular in Great Britain ( ie www.tracey.com, wwwc4rd.com,The London Drawing Room,www.drawingresearchnetwork.com, www.creativityand embodiedmind.com ,www.drawngpower.com and their hundreds of links (especially Intut)
The BIMLP is a research arm for considering business integration of the diverse dialects of the United Kingdom: Ulnas, Scots, Gaelic, Irish, Welsh, Guinea,Manx, etc...
It occures to me that drawing is in general very much like pidgin english in that while it relates to a specific language it actually generates its own language building impulse that is a structuralism. Drawing belongs to the learning of language and the very "gage of language means "pledge" or something give forth or thrown down, emblematic....
I would very like to see develop in America a similar enthusiasm for digital drawing, my own work as I mentioned developes from a sense of kinesiology implicit to the fact that the digital media is not available to the torsion and sheer of actual traditional art materials but instead uses rythm to create its own sense of physics and directive towards the sculpturotectural inner eye.
If anyone is aware of any such on or offline directives in the State please let me know something of your resources.
Edwin VanGorder (Van)


Performance, All Over the Map: On Chris Salter's Entangled

Salters from the description seems to agree with Heraclitus that the sun is" born anew each day" and what intrigues me in the description of his interest in a democratic history is how the topologies of histories and their embeddings upon each other are like the new concept we have of geography in which satelite views in their variety create a different sense of map lines which are seen as simplified and considered differently or represented simpler.
If reality is not a given and cannot be represented but only enacted to experience the word reality needs a second look I suppose- it would appear to be a combination of the prefix re and and the word "alite" as in to land again upon. The world performance corresponds in my view with a world that is very much about publishing as much as it is about performing... those performances get published and that publishing is a reification so I hesitate to propose replacing the word reality....


Untitled (2010) - Micah Schippa

I admire the way the work initiates one into questing the question that if to see one thing you must also see another is it yet true the edge and center transposal to a singularity are a motion of things within things and a topography or is the positioning of the mind to understand time an inside out activity which in the end belongs to the things seen rather than the seer?