Mikey Georgeson

Personal webpage: www.mikeygeorgeson.com

Autopoiesis: Actual Occasion. Acrylic on unstretched canvas 1.2 x 1.2m  (hung with eyelets on the plane of immanence)

Autopoiesis: Actual Occasion emerged as an attempt to express my intuitive sense of temporal substance through the tactile weaving of mind and cosmos. Space dancers trip the light fantastic emboldened by rope goggles of entanglement, harnessing the virtual analogue of expressive technology. This painting, or aesthetic machine, addresses tactile pleasure of temporal substance in episodic drops of experience. Time takes on the vitality of matter and we feel the meaning through intensities of prehended understanding. This region of performative becoming is where my paintings is situated and life becomes what it is when virtual meets actual on the plane of immanence. My paintings are an attempt to act through the expressivity of the cosmos rather than the communication of an anthropocentric post-rational logic. I feel as if an urge to make pictures has always been driven by a resistance to the verisimilitude of the art object that exists in a Euclidean grid of pregiven coordinates. Art and picture making are a transformational position of understanding the emergence of stuff in becoming. Paintings are self-identical and do not need to be emptied out of symbol to harness the vitality of matter – a matter in which vibrates the ubiquity of consciousness. My painting then is nonhuman autopoiesis entangling me with the cosmos to join a collective harmonious region of interrelated mutual altruism. By recognising the expressivity in cosmic matter we expand outside of the set patterns of the communication model to feel the joy of the capacity to create. My paintings seeks to merge epistemology and ontology and to rediscover my indigenousness to nature.

The Case of the Missing Shade of Blue: The Tears of Narcissus. Virtual assemblage of acrylic on unstretched canvas (Hung by eyelets on the plane of immanence)

The Case of the Missing Shade of Blue: The Tears of Narcissus. My paintings often emerge as a means of trying to understand a thought in becoming and then transform into the encounter with that thought’s verified experience. This can mean conflating apparently unconnected concepts through a rhizomatic intuition. Painting becomes a ritual opening onto my tactile dialogue with these ideas. What it possibly boils down to is a desire to inhabit the region and be aware of myself as a part of the region through the felt intensities of cosmic expressivity rather than the pregiven date of Newton’s spectrum as suggested by the communication model. Using a template of tear drops this digital tapestry weaves with Deleuze’s idea of cosmic expressivity by taking up Whitehead’s suggestion that the cosmos is inherently symbolic rather than this being a human invention. The symbols in the painting are drops of experience as suggested by Whitehead and they are my grieving for this loss of extra-sensory or extra-textual understanding that the communication model’s version of humanity posits. The blue is both my longing for something lost and the felt intensity that this longing creates an opening onto. This painting is a virtual digital assemblage and again acts as a joyful fulfilment of the capacity to feel the vitality of the mind in the cosmos.

For more from Mikey Georgeson see “The Cloack of Longing” by clicking here.