Paint

This text is a sort of profile on the artist Grier Blumenschine. In compiling the content I searched for a form that would somehow relate (not reflect) the paintings and personality of the painter. The italics are written statements by the artist and the rest derived from various multimedia(s) and conversation.


Paint (ing)


-Sometimes Grier paints it then sees it. Other times he sees it then paints it, he prefers neither.
-Upon beginning a work, Grier seeks to inhabit or re-contextualize utter emptiness.

communication outside of contextual constraints- paranoid of reference, in this way a language decipherable by only universal means of collective generation, there being a casual relationship to impulse and interpretation. perception undermines experience.  

-His painting is proof that additive subtraction is more additive then subtractive,
-Insofar as Duchamp renounced art for chess, Grier plays infrequently.

the layered canvas accumulates, in one literal frame, infinite (theoretical) sequence of moments where repetition is abandoned for a subjectively deterministic pattern of such an unpredictable life or memory repeated in dreams undergoing permutations of perceptual nature. a microscopic observance of grotesque vastness.

-Griers shout represents a misunderstanding.  

the composition commits itself to fallacy through contextual suicide. it exists because it is false. a meaning with an end in itself.

-I once said to Grier, “lies are the most mechanical form of speech.”
-Insofar as Pollock was ‘in’ his most important work, Grier is not.
-His best paintings lose information at a very constant rate.

elevate composition to the state of real-time correspondence. naturally capturing the moment with the past and future in mind, the interaction between canvas, pigments and myself is defined with a method of becoming realities translation. my distortions tend to mark a essential interval in the process. layers of medium serve as corrections/ an image of the composition becoming.

-His mental math is superior to most.
-One need not jump into a Grier painting (he’d be offended).

the composition commits itself to fallacy through contextual suicide. it exists because it is false. a meaning with an end in itself.

-His social life is paradoxical to his ambient applications of paint.
-Grier neither denies nor accepts the mistake, he is the mistake.

communication outside of contextual constraints- paranoid of reference, in this way a language decipherable by universal means of collective generation there being a casual relationship to impulse and interpretation. perception undermines experience.  

-Recognizing the plain fact that everything done affects the painting painted, he paints.
-Grier is slightly tormented by WWI due to German Expressionism.

my sole intention for the composition (its purpose) to allow the canvas to communicate with the paint as to express the inherent loss of communication between medium and content, the bare canvas (exposed in order to elicit uncertainty of purpose/authorship/process/aesthetics) speaks to the viewer more clearly than what disguises it. paint being(form or subject or line of accidental application of contrast) a foreign language uniquely comprehensible to the creator. translated yet inherently devoid of meaning. the subject is inert and the relationship between content and medium is innate.

-He might get drunk again tonight.

the composition commits itself to fallacy through contextual suicide. it exists because it is false. a meaning with an end in itself.

-To Grier, De Kooning means violence while Warhol means the image is false.
-Sculpture is more masturbatory than painting, he says.
-On Griers rainy fifth birthday he slipped on a playground and injured his head.
-Death, he’s not sure.
-What’s necessary for Grier to paint is an empty space of time in which to fill.
-His mental math is superior to most.
-Rauschenberg invented the term ‘combine’, Grier mentioned this once in passing.
-If I were Grier I’d smoke less.

MY PAINTING IS EQUIVALENT TO MY INABILITY TO COMMUNICATE HONESTY TO AN AUDIENCE, WHO DETERMINE MY EXISTENCE. SO I AVOID INSTANT COMMUNICATION, SETTLING, FOR SILENCE INSTEAD.

-Death, he’s not sure.
-Grier tends toward producing one physical to-do list per month, but many exist internally.
-Grier uses a second generation ipod, tenderly.
-Agnosticism rings partially false for Grier.

the layered canvas accumulates, in one literal frame, infinite (theoretical) sequence of moments where repetition is abandoned for a subjectively deterministic pattern of such an unpredictable life or memory repeated in dreams undergoing permutations of perceptual nature. a microscopic observance of grotesque vastness.

-During a recent conversation, Grier told me he is interested in the way paintings taste as
they dissolve and we internalize them.
-His mental math is superior to most.

i am not confident in the conception, the process, or the outcome. i rely on this for success though i am never aware of achievement. ihis motivates me to create.

-His best paintings lose information at a very constant rate.
-The locations Berlin, Provence and Hong-Kong mean more than literal sense to Grier.

MY PAINTING IS EQUIVALENT TO MY INABILITY TO COMMUNICATE HONESTY TO AN AUDIENCE, WHO DETERMINE MY EXISTENCE. SO I AVOID INSTANT COMMUNICATION, SETTLING, FOR SILENCE INSTEAD.

-His social life is paradoxical to his habitual application of paint.
-Griers shout represents a misunderstanding.
-“Art,” he speaks intermittently.  

texture compliments cyclical trajectory of pigments. laborious regiments not related yet not completely foreign. layers stand as distant cousins or galaxies of sense. moods, my muse, allow intuitive use of the spectrum, mirroring grief and jubilee.