I currently depict abstractions of language and sensory experience through a multidisciplinary practice. My work is a mash-up of body and spiritual negotiation, drawing from Abstract Expressionist, Surrealist and craft philosophies to transcribe a version of contemporary mysticism. My process employs rhythm—repetitive, hypnotic, meditative, chaotic—through motion, mark and color manifesting into physical form. I’m interested in silent static, metamorphosis in practice and object, poetic collisions on surfaces, a universal pulse, an undercurrent. The inconceivable magnitude of what is happening simultaneously during one moment in time.
My newest work is 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—that distort and morph 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, 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 Alexander Calder, Joan Miro, Bruce Nauman, Jan Svankmajer, Cy Twombly, John Cage, Caroline Achaintre, Larry Bell, Bachelard, Simone Weil, Michel Serres, Anne Carson and Mathias Svalinka.
A physical artifact of emotional experience is neither here nor there. But so strongly there.
Copyright © 2018 Eileen Cubbage