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Casey
Ruble
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My
paintings explore the collisions between different systems of meaning-making.
In our attempt to make sense of what Foucault called “the wild
profusion of existing things,” we strive to identify similarities
and differences between what are essentially abstract components, be
they phonemes or colors, whole wordsor whole paintings. But meaning-making
is a messy endeavor: A diagram of a World War II–era fighter jet
formation looks more like a Frank Stella when seen in the context of
a gallery exhibition. The crests once worn by Japanese soldiers lose
their power as markers of identity and become purely decorative.The
color green, which Mondrian loathed because of its reference to nature,
today recalls computer innards as readily as it does grass. I am fascinated
by what happens when we subject something organic(like a figure in motion
or a narrative) to something systematic (like a geometric composition
or a pattern): It is another means of ordering raw data, of interpreting
the world around us. For me, a successful painting balances precariously
between abstraction, symbolism, and representation. I like to think
of these paintings as converging streams of thought: Eddies disrupt
flow, undertows are formed, and new currents emerge in unpredictable
directions. |
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