Emerging matter upon a surface so similar to those larger processes happening on the geological and terrestrial surface: it is a unique example of scale invariance. The content of the work are processes of form-generating matter which are ‘within’ and ‘without’ the work. The form processes are consistent throughout the environment based on the aesthetic dimension (the domain of causality) and it is enough that the painter evokes them by laying out the parameters of their appearance.
Sensations are compiled through the framing of the work. Conscious of what is ‘inside’ the frame as simultaneously conscious of what is ‘outside’ of it working through terrestrial processes, the painter fathoms the dynamics of the creative field of formation. He becomes sensitive to that which is in the work that is also throughout the ecological and geological environments. Imagination is in philosophical reflection to the open and self-organizing properties of the morpho; in action (as a work leading to a conclusion) the artist renders this sensitivity into the imago.
The frame (the edge) designates the boundary of the work but the boundary is in some sense irrelevant: it is a site of making and conjuring sensitive to an interconnection where there is no longer a distinction between an inside or an outside, foreground or background, or matter or content. Reflecting on the plasticity’s emergent potentialities, which is to say, of having morpho inform conscious attention, the painter comes across painting’s immanence.
— JM (2014)