One great thing I love about Mitchell's work: the creation of markings that may seem loose and derived of chance and happenstance, but on closer viewing reveals their assuredness and intention. Areas that are smudgy and partially obscured (also intentional) often receive a new set of bold, colorful marks. The result for me is a sort of gestural palimpsest that has dimension and vibrancy.
Images courtesy of The Joan Mitchell Foundation
photographed inside the Yule Marble Quarry, Marble, CO.
Between 324 and 350 million years ago carcasses of marine life accumulate on the bed of a shallow sea, creating a thick layer of sedimentary limestone. Subsequent orogenous uplift events reposition the rock layer to 9300 feet above sea level, and through contact metamorphism, crystallize the limestone to marble.
Exposed rock faces that have been cut, drilled, scratched, carved into and left to weather, erode and develop an environmental patina have always fascinated me. These multiple processes hint of layered timescales, of histories both ancient and contemporary, and often become inspirations for the paintings I do.
.PRINTED RECORD (2001)
Design: Ben Chatfield
A used vinyl record is inked, run through a letterpress and printed to colored paper, which makes legible scrapes, scuffs and scratches accumulated on the vinyl surface. This process reveals a secondary record of the physical history of this piece of vinyl while simultaneously conceals--makes inaccessible--the original record of musical information embedded on its surface.