SELF-ORGANIZATION

Self-organization, also called spontaneous order, is a process where some form of overall order arises from local interactions between parts of an initially disordered system. The process can be spontaneous when sufficient energy is available, not needing control by any external agent. It is often triggered by seemingly random fluctuations, amplified by positive feedback.

Self-organization occurs in many physical, chemical, biological, robotic, and cognitive systems. Examples of self-organization include crystallization, thermal convection of fluids, chemical oscillation, animal swarming, and neural circuits.

Self-organization is an example of the related concept of emergence - In philosophy, systems theory, science, and art, emergence occurs when an entity is observed to have properties its parts do not have on their own, properties or behaviors which emerge only when the parts interact in a wider whole.

Emergence plays a central role in theories of integrative levels and of complex systems. For instance, the phenomenon of life as studied in biology is an emergent property of chemistry, and many psychological phenomena are known to emerge from underlying neurobiological processes.

 

A NEW VOCABULARY

Art is a form of communication, but does it have a tongue? Is it a language? Does it speak to us as literature does, with symbols and syntax?
Early pictographs were a hybrid of picture and writing, and once separated into art and letters, could they ever be reconciled?
If the language of art is shape and color, then it must transcend the limitations of any specific literate language. It is potentially universal in its expression while defying explicit or mundane interpretation.
Its closest analog is poetry, where unexpected juxtapositions can trigger the imagination to extrapolate worlds of meaning and significance.
From the cave wall to the gallery wall - visual, visceral, material, and timeless - Art endures as the most potent form of human communication.

The 2018 glue season begins with a pictographic experiment in biomorphic shape, where color formulas are allowed to expand within a vocabulary of wet cell forms.
It's important to remember that each cell showcases the expression of the materials themselves - the character of their chemistry. I facilitate but don't interfere.

Above - #1801, 24" x 24"
Below - #1802, 24" x 24"
Ink and watercolor suspended in polyvinyl resin glue on cradled wood panels

Details

NEW GALLERY, NEW YORK

#1708, Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel, 24"h x 36"w - at Ric Michel Fine Art, NY (click to enlarge)

William Loveless glue paintings are now available through Ric Michel Fine Art, New York, NY

http://ricmichelfineart.com/artists/william-loveless/

Telephone (212) 710-1048

SOCIAL MEDIA

The individual and the collective - the integrity of the primary identity vs the give-and-take of social interaction - the iconic self at one level, the organic merging of personalities in a shared space at another level.
These themes are applied in a new series of works that combine individual formulas with a communal space in which they interact.
In this example, 55 formulas were selected and applied at random on the first layer of wet glue encompassing the format surface. Here they push and pull at each other - some establishing dominance, others being contracted by their companions; some merging, others remaining distinct.
Once dry, their relationships become a history of permanent record. A fresh layer of glue is then applied on top, "pushing back" the first layer with a milky translucence once dry..
Finally, individual wet cells are created in which the original 55 formulas are allowed to grow separately.

(Above) #1616, Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel, 36" x 36"

Click to enlarge

TIGHTER

#1602 (Hex test), 24"h x 18"w, Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel

The first acid test for new formulas, Spring 2016.
I've introduced a tighter grid to allow more tests within the format space.
The hexagonal grid is based on the honeycombs of beehives, which maximizes the number of cells within a given volume. It is also more visually dynamic than a square grid, with more complex diagonal relationships implied.

Below is a photo sent by the collector who purchased the piece, as installed in their home.

CURRENT REPRESENTATION - William Loveless Glue Paintings

Studio One 11, 68929 Perez Road, Cathedral City, CA  - (760) 770-1111 (Palm Springs area)

Fresh Paint Art, 5835 W Washington Blvd, Culver City, CA 90232- (323) 931-5835 (Los Angeles area)
http://www,freshpaintart.com

Michael Warren Contemporary, 760 Santa Fe Dr., Denver, CO 80204 - (303) 635-6255  - http://www.michaelwarrencontemporary.com

Red Arrow Gallery, 919 Gallatin Ave, Nashville, TN 37206- (615) 236-6575
http://www.theredarrowgallery.com

Modern Arts Midtown, 3615 Dodge St, Omaha, NE 68131- (402) 502-8737
http://www.modernartsmidtown.com

Eaton Fine Art, 900 W Loop Blvd, Austin, TX 78756 - (512) 323-2628 -
http://www.eatonfineart.com

THE DRAPE

#1515 (Warm Drape), Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel, 36" x 36"

In a radical break from my usual practical and highly organized research methods I indulge in a spectacular experiment of organic formula interaction. With only a list of red and black formulas to refer to, and a working knowledge of their properties, I begin by pouring the wet glue at the top and allow gravity to pull it down into a drape-like shape within the prepared format. The formulas are introduced at random intervals as points that quickly flower and communicate with each other - creating a rich and sensual tapestry of action and reaction.
The fact that all of this interplay takes place within a single defined shape distinct from the square frame of the glue-bed format gives it a sense of "entity", suggesting a figure-ground relationship rather than a wall-to-wall field - - regardless of the myriad unique and distinct entities within.
It is many and it is one.