Statement

 

I currently depict abstractions of language and sensory experience through a multidisciplinary practice. I value a high priority of creative process, chance and collaboration in my final artifacts. My work is a mash-up of body and spiritual negotiation drawing from Abstract Expressionist, Surrealist and craft philosophies to transcribe my own version of contemporary mysticism. My work processes often employ rhythm —repetitive, hypnotic, meditative, chaotic—through motion, mark, and color that manifests into physical form, metamorphosis in both practice and object. I’m interested in silent static. Poetic collisions on surfaces. What might be happening simultaneously during one moment in time, yet seen by none. 

My newest work involves large textile drawings on monk’s cloth. Once used for monk's habits, the cloth is distinctive because the weave is created with four vertical and four horizontal threads. With poor dimensional stability, it tends to snag, sag, tug, and tear. I weave scraps of language—found, written, heard, composed— (interiority) that distorts and morphs into gestural vestige, bodily scribble and utterance— the work is an attempt to give direct quotation of feelings. Not merely of language but of the whole consciousness, a tactile relationship between time, place, movement, and emotion. Touch as partly objective, partly subjective, because we desire through and of the skin. Traditionally, the idea of portraiture was to give clear psychological insight into a person, but these skins overwhelm with a cyclone of overload—an undistinguishable, swarming continuum, a vision of excess, speaking to the limits of the body and levels of translation. Sometimes the closer you get, the less you know.

My research deals with the Skin Ego, Didier Anzieu’s introduction of “psychic,” “sound” and “dream envelopes:” fine, ephemeral membranes that replace the tactile envelope of the ego’s vulnerable skin and the bodily ego’s relation to psychic space. I am inspired by the work of all disciplines. Currently, I’m reloving Marina Abramovic, Bruce Nauman, Jan Svankmajer, Cy Twombly, John Cage, Caroline Achaintre, Bachelard, Simone Weil, Michel Serres, Anne Carson and Mathias Svalinka.

In addition to my textile and drawing work I am currently making a body of sound pieces. Inspired by Malcolm Gladwell,”A meme is an idea that behaves like a virus—that moves through a population, taking hold in each person it infects,” and the mystic concept of Tulpa, a Tibetan Buddhist discipline exploring the manifestation of energies into physical “thoughtforms”. I use found sound as a compositional constituent to create drawing environments. Much like found objects, I reconfigure these bytes into a genre of anonymous performance, mimicking the experimental, automatic nature of drawing. Sound acts as mark making—auditory scribbling of the mind, conjuring specificity of place and space. Might the soundforms created from mainstream net culture- distracted, disparate, frenzied bits of information, also conjure sentient form and propagate? These hybrid anonymous entities act as a portal, exploring physiological, psychological, and temporal vibrations that lie between past and future existences, much like infinite cyberspace.

A physical artifact of emotional experience is neither here nor there. But so strongly there.


Please reach out to schedule an experimental and performance drawing, lecture, reading, or sound installation.

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Copyright © 2018 Eileen Cubbage