||This exhibition has been brewing for some time. I first encountered the term projection-space around late 1975 or early 1976, in the catalogue to the Hayward Gallery's 1971 exhibition Tantra. Though much in that catalogue appeared to me then as unfathomably exotic, one particular depiction and caption greeted me like an old friend: 448, The Supreme Goddess as Void, with projection-space for image. Since late 1974, I had stripped away from my own image-making all but the dependent, suspended frame and the equally dependent viewer who projects upon that. Here, welcoming me from a very different culture of awareness was surely a reflection of this same view. Here, too, were featured those same hanging points I was now insisting were a fundamental (causality, dependency) component of my visual challenge to the display of the Western conceit, the notion of the self-contained.
In retrospect, it seems curious that it has taken thirty years to publicly incorporate this figure and this caption into my art. Certainly, she has been with me since first sight; and there have been various drawings and studies made of her made during this time. Several earlier projects that would have presented her publicly failed to eventuate. Now the identification is greater and the time seems right.
The earliest work in this exhibition is from 1975. It includes a depiction of three suspended, coloured paintings (such a curious and limited term, paintings), or projection-spaces, one of which has been whited out. This introduces the ideogram, derived from the appearance of the suspended, framed, projection-space.
Then, there are three large ideogram screens, two of which were shown in my previous exhibition (with Lindy Lee and Tim Johnson at MUMA in 2001). The grand third is shown here for the first time.
The group that features The Supreme Goddess as Void, with projection-space for image, though all painted this year, are dated to indicate they have existed as full studies well before this.
The most recent work in this exhibition derives from the subject heading of a spam email: When SpaceCanvas is asked to repaint itself, it first determines the current time and updates each sprite with the current posit. Oh, thank you generous matrix! Echo of the frames-per-second flickering on the movie screen of my teenage projectionist days (see printed exhibition invite with 1966 drawing of 35mm projector). Echo of the magic moment I saw my first Lucio Fontana pierced coloured Spatial Concept canvas. Echo of Yves Klein, of his Leap into the Void; his selling of space as art as Void in exchange for gold thrown into the Seine; his Zones of Immaterial Pictorial Sensibility.
The next project is www.projection-space.net