With the use of wood supports as objects for furrowing into, filling and collaging onto, attention is brought to the support as a ground for material action and thought. The acts of drawing and painting have been divided into the components of cutting or routing, and filling or sealing (respectively). The thickness, in terms of applied fillers, collaged elements and the furrowing as a kind of folding of the surface situates the work within notions of how “matter thinks” (8) as discussed by Stephen Melville. His notion that “the ground of thought is something like a cut, or a fold, a moment of delay or excess, in which substance refigures itself as relation” (8) is of particular interest.
My own work reconstitutes painting as a part of its ground by rethinking it in part as filler. With furrowing and filling, or cutting-out and pasting-in, there is a notion of embedding and making essential or integral. Yet as a hollowing-out or vacuity it also empties, or makes present an absence: a cavity created in the body of the wood for holding content.
Melville, Stephen. “Counting / As / Painting”. As Painting: Division and Displacement. Philip Armstrong, Laura Lisbon, and Stephen Melville. Wexner Center for the Arts, The Ohio State University, Columbus. Cambridge and London: The MIT Press, 2001.