found: Mira Dancy
From her statement - 'PROPERTIES AND POTENTIALS IN PAINTING', quoted almost in entirety:
"When I begin a painting it is usually a means of interrupting the over-thinking of an idea. By this I mean to suggest that ideas that are coddled by head-space, especially those which attach themselves to words we speak in our minds, become totally fixed points in our consciousness and, in the most general terms, become representative of a maximum of inertia. Making a painting requires that an idea, generated either in the mind or in the hand, divests itself of its own inertia. Especially the inertia induced by language."
"So, while paintings as objects possibly attest to the susceptibility of the human psyche to fixate on particular things (an inclination to subject oneself to a total saturation of inertia), the act of painting is involved in the simplest sort of unhinging of ideas from their fixity. Painting is a means of action – of shaking off inertia."
"Making a painting is to construct a conscious image, one that resists inertia by becoming an activated object DESPITE its inert-ness."
"I don’t believe that paintings can be wholly premeditated or even that making a painting is an acquiescence of a good-natured “push and pull”. My notion of “negative qualities” assumes “Idea-having” as a state of silence tempered by clamor, of exuberance restrained by latentness, of all vehemence and passivity intertwined, and of stolidness at odds with potential. In a painting these oppositions don’t operate in ratios – any amount of one immediately diminishes the totality of the other. The painting is an incorporation of both affirmative and negative qualities and is a test both of the flexibility and viability of any given idea. Lots of paintings extinguish themselves if they make no room for their own negativity."
"Perhaps as a result, paintings surround themselves with silence – they end conversations before they incite them. But by their holding-still they are infused with some of the bliss brought on by the unhappiness of knowledge. The assertion of the negative, their seeming uselessness, goes buoyant."
"What does painting need with a cold eye or an obedient hand? I enlist painting more as a channel for an aggressively questioning nature to trample its own way through to what is not necessarily here now or ever... toward something ELUSIVE at its core."
"As I try to put forth this “conscious image” as one unbound by its fixedness, its flatness, or even its falseness I mean to describe paintings as operating in a realm where THOUGHT IS A BECOMING-THING and FACT IS A BECOMING-FEELING. This shape-shifting represents the capacity of the painting – its ability to both assert and disrupt itself . This idea of an undemarcated becoming-ness in painting resists reality as an even flatter realm and actualization as redundant."
"With its becoming-ness painting engages wordlessness, transfixion, and a desire for a mutable experience of the world – potentiality, vulnerability, and inconsistency are all part of the program. The feeling that becomes is not particular, does not characterize a distinct persona, it is just intensity, just color. As Nietzsche elaborates on “deep feelings” in Human, All Too Human he describes:
"A feeling is deep because we hold the accompanying thought to be deep. But the deep thought can nevertheless be very far from the truth, as is, for example, every metaphysical thought. If one subtracts the added elements of thought from the deep feeling, what remains is intense feeling, which guarantees nothing at all about knowledge except itself, just as strong belief proves only its own strength, not the truth of what is believed. (p. 22)"
"So what is problematic for “the truth” is good for the painting. Without aiming at truth or at a hierarchy of observations-becoming-assumptions, paintings are more apt to transmit what is allowed to them as image-things, as auxiliary forces; they are bent toward intensity alone, and the image surrenders first. An event without any measure of proof takes place."