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Themes and Motifs in Painting 2010-2011



     There is the body and there is the figure. There is a distance and there is what has passed. There are the genitals which are smeared and undefined and there is the body and there is the figure. And the body is reclined (in an ancient way) and the figure is erect (in an ancient way). There is the face which has dissolved and there is the body (also dissolved). Behind the face is the skull and the skull along with the face makes up the head. And the head is a form that will expand until body-sized. And the head is a form that will expand until wall-sized and it will expand further until all its cells have separated and dispersed. And there is the ocean. And it is a setting and a scene and a distance.


     There is the head (it is now body-sized) and there is its transformation (transformation is continuous). There is a full body of water filled constantly with channels flowing into and out of it (this is the body filled with water). And there is alteration and matter shifting and in full expansion beyond the material it moves between finite and infinite states. This is both the ancient act and the modern act. 


     There is action in a setting and there is action in an image. There is what the body does and there is what it is capable of. There is the head and the form and the figure and then there is what spills out of the form and figure and into the scene (also being the environment, the room, or another object in proximity). There is the same head and the same genitalia (that is smeared) and there is the expression (also smeared) approaching the quality of a face. There is no immediate entrance and no direct gaze. There is only a series of holes and the head positioned in a slant. And the slant suggests the form in action and the smear suggests the form's expression but in both cases the appearance of one state is in reality another (the form moving much too fast to perceive). And  there is the body and there is the bridge. And this is one structure combined with another, being built as well as biological. 


     There is a head on top of a bridge and a cloth on top of the head. Inside the cloth is a thought and inside the thought is an image. And the head is open and the cloth is open and one flows into and out of the other. There is on top of the head as a site and under the cloth as a form and under the bridge as a place. There is the inside of the cloth and its limitation and there is inside the skull and its limitation. There is inside the eyes and inside the mouth and there is inside the nose, ears, ass, and genitalia. And inside the brain is a thought and inside the thought is an image. And there is inside the hole and inside the hat and there is within the brain and outside the skin. And there is a thin membrane between both and the universe passes through it and it passes itself into the universe. 


     On the outside is an image and on the inside is also an image. And there is a square (with defined edges) and the image is within the square. There is a form that is like a silhouette and also like an absence. And in being like a hole it is also a form and in being like a form it is also an image. There are defined edges for observation and there is an expanse beyond the frame.  There is the frame and its necessity in perceiving what is (possibly) infinite, like a form expanding continuously. And like the edges of the body (containing expansive energy) it is a unit of measurement and comprehension. One must understand the body as a finite structure with infinite dimensions, not in a supernatural sense, but metaphysically being like a series of reverberations out into other bodies. There is action (movement) as a permeation into other bodies and there is thought (movement) as a permeation into other forms. There is movement as a permeation into surrounding molecules and this is a body that expands affecting another expanding body. There is the old city and the remnants of past civilizations and there is the new city and the universe inside of the brain. There is the universe inside the eye and all of history inside the silhouette. It is a line traced in the shape of a skull and a single structure and a double structure (continuously). It is both material and biological, both built and grown. It is the finger tracing the shape of the skull and the head fully expanded (and house-sized). It is a unit of measurement, a pattern, and a design. 


      And the ancient body and the modern body are the same. And the square body and the edgeless body are the same. And the body was on the beach and it is in the world. It was on the water and it is now (due to weight) on the ocean floor. There is what occurs on the ocean floor and there is what occurs to an object under pressure. The body is crushed and the face is crushed and the image is altered but its meaning is continuous. And the energy expressed drifts out into other bodies and above the surface. And so there is the painting and so there is the image. And the image is a blank image and the painting is a painted one and then there is the body and it has been transformed. And there is on the beach and there is on the surface and there is on the floor. And what is above this but a series of further reaching surfaces. 


     And so there is no void. I mentioned what could be an absence but there is no void (only entrances and exits). There is only the reverberation of all lives past presently moving forward. There is energy that has shifted and there is the square body both as entrance and as exit. There is the painting (the square body), there is the body in action, and there is the screen as a face. This is a structure for smaller structures and there is its transformation (as action and as image). These are the bodies, like buildings, that inhabit and are inhabited and these are sites of reverberation. There are holes placed in the body that fill and do filling and there are holes placed in the body (and also in the surface) as passages of thought and matter. What is internal becomes external and what is externally compressed becomes internally formed. And the painting is the face and the screen and it is the wall and it also contains passages. And the painting is the inside and it is the outside and the body is the same and this exists for reflection. It is a screen for thought and a mirror. It is a reflection of the expanded body and an expansion into the separating face. It is the body as a passage and it passes from object to object and from viewer to viewed.



Ian Trout, Los Angeles, 2015