Kerrie Poliness, Untitled painting , enamel on canvas, 1989-92 Also see Wall Drawings Investigating the formal properties of the geometric through perceptual or material extensions, these projects were seen as part of a larger, ongoing and experimental project and revolved around a performative affirmation of the creative and material action of making art. The artworks themselves were produced with a seeming lack of hierarchy that reintroduces the field into the late twentieth century, working as a strategy of actuating the surface qualities of the work. This pointing back to the inside of the frame is a concept that belongs to pure plasticism and marks a return to that system of values and its associations with the primacy of painting. It is a contract. These are manufactured through a mechanistic concept of labour that is an extension of the industrial aesthetic of the subjectivities of earlier abstraction.
Repetition is a binding process even with oneself.
The historical avant-garde believed that past art was meaningful only after it had been displaced, when its pure aesthetic structure was able to be discerned and sanctified within the museum. This constituting rupture is an exegesis of the avant-garde and frames a convention of rupture, displacement and the historical future. Its like being a footnote to nihilistic modernity. This catastrophic object oscillating between banality and over-determination is the same sublime that can encompass the scoptophilia of any number of formalist returns and the exmaination of its effects. It merely foregrounds its effects through an aesthetic of scatology and detritus.