This project has its roots in my ongoing exploration of painting as an expressive and conceptual practice, in this case asking how the theoretical can be made visible, and how the visible can be made theoretical; therefore its main focus is on the nature of the image.
The initial impetus for this work came from reading Martin Heidegger’s account of Plato’s Theaetetus, a dialectical discourse on knowledge as truth, from which emerges the figure of truth’s seeming opposite, error. Plato achieves this by showing that we can know and not know the same thing, a form of error. Rather than demonstrated logically, this paradox is made visible through two related images: the wax mass and the aviary.
There is a further unseen source for this project, which is the work of the French philosopher Gilles Deleuze, whose project can be understood as the overturning of Platonism and its appeal to transcendence, the prioritising of timeless truths over the physical. He does this not by opposing but by adopting the logic of Platonism, carrying to its “absolute limits…the reasonless reason, of its mad dialectic” (FoP, 116).