Barnett Newman was one of the main references when I first starting thinking through the “zip” (vertical stripe) aesthetic for this project. While Newman fits in with Rothko in terms of a borderline fetishization of the primal, I see quite a few overlapping concerns. Like, me Newman also sees art as being rigorous and removed from chance or the arbitrary. Newman also sees art as a mission to contest styles and conventions, which is interesting the context of my thinking about art as a process of articulating what art is.
Newman was also highly preoccupied with the concept of origination, the origin of the universe in particular. In his context, this takes on a spiritual / religious connotation, whereas I am interested in scientific bases of origination. It was actually this idea of origination that motivated my grad studies and interest in dreams and creativity. This probing of origination or foundations of structure connects with his interest in starting from a tabula rasa and questioning the foundations of geometry. This is challenging to algorithmic work limited to a particular set of possible geometries computed by the machine. In my case, perhaps, the geometry of sine-waves. There is still a question of composition though, sine-waves are more a underlying vocabulary and do not define the whole of the compositional system.
Highly relevant to the ZF is Newman’s interest in the Sublime that transcends “categories of value” which relates to the critique of art as commodity implicit in the ZF. Again, we have an interesting relation between the artists work and the viewer. As described by Claudine Humblet in The New American Abstraction (1950–1970), Newman’s works’ “…sole aim is to convey the space against which Man measures himself.” This is very interesting considering my previous reflections on the work (the AI enabled work in particular) as a mirror of our understanding of ourselves. In the context of this project, this space could be the machine (as external model of cognition), or even social media itself. Newman wanted the viewer to gain an awareness of themselves through the work; not just a surface awareness of self, but self as a ‘totality’ both connected to separated from others, mirroring my interest subjectivity as the projection of imaginary boundaries.