Ernest Becker said in his Pulitzer Prize winning book Denial Of Death that nature is for us terrifyingly brutal, destroying what she creates through endless life-death cycles. The grand summation of his profound life’s work is that the basic motivation of all human behavior is our biological need to control our basic anxiety, to deny the terror of death. Out this text I began a pursuit in 2007 to develop a medium that could stand as a critique of this fear. Developing the medium required a process true to the principles Becker espoused: to engage nature’s violent, transformative tendencies in a way that the path of creation is also the path to destruction, necessitating the reliance on real life death cycles in the medium to establish a platform for meditating on the impacts of this “basic anxiety” on the artist’s materials as they are drawn through the experience. The original life of the metal pictorial plate is destroyed by the process. The death of the original moment of inception, the peak moment of aesthetic meaning and message, must be documented by a camera apparatus, if it is to be brought into the world as potential-for-dialog and proof of the primordial experience of living unto death. The submitted works are by necessity photographic works, I refer to them as process memory documents and each represents a pivotal moment of life unfolding across time in the space of a generative energy field (metal plate) influenced as much by the artist’s sculptural intention as by rain, air temperature, oxygen and sunlight. Each work is issued as a rare edition of 3.
The unique working artistic process / medium brings to bare what I call nature’s signature’s of energy--which possess a semiotic aesthetic that articulates transformation. There's a distinct expression of macro-micro relationships between nature’s chaotic field and the artist’s intentional figurative mark. The overall read is that of an accumulation of organic information that establishes a point of intersection with potentiality for varying dialogs. The human forms of the works are built with biomorphic strokes-as-information to purposely destabilize the traditional sense of figuration allowing for the broadest possible extension as metaphor of human suffering. For all works the image is an intertextual link to the title. The titles are poetical references to our “basic anxiety.” And between the title and the visual lies an active dialog about the creative potential of death energy.