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Marking the passage of time in space (2017)

Lucila Nalvarte Maddox
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About this exposition

This text presents painting as a visual mechanism with which to communicate the otherwise invisible concept of the limitless passage of time in space. To do so, it demonstrates a series of ways through which the mind negotiates with the hand to process painting materials and techniques as part of an attempt to materialise the invisible. Consequently, the act of painting itself becomes both subject and motivating force. This project was first envisioned whilst travelling on a train high up in the Andes. My curiosity, although frightening was well rewarded when suddenly I noticed that the train tracks were not only limitless, but also invisible due to the speed of the train. At that moment, time and space became both eternal and invisible. Elucidating the invisible through sensory and non-sensory perception is not an easy task, for it implicates a conundrum that is no longer exclusively the domain of science but rather that of art and philosophy working in concert.
typeresearch exposition
keywordspainting, experimentation, techniques and strategies, time, space, limitlessness, visibility, invisibility, philosophy as art and scientific deductions of spatial interpretation and art, painting as a register of the process and theoretic operartor
date19/01/2017
published19/01/2017
last modified19/01/2017
statuspublished
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/327554/327555
doihttps://doi.org/10.22501/rc.327554
published inResearch Catalogue


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