From The Margins of Immateriality

June 1, 2008

Look for renewals departing from Life.
Let us defile institutional theory mongering,
a corrosive taxonomy at the service of petulance,
Marketing anachronistic slogans of nonsense.
Subservient to infamy,
Cohorts of Dilettantes,
Not lack delimitation as handmaiden to ignorance.

Who promotes the edge of a new fugitive survival?
Fleshing out servitude as style,
Replacing intellect with mordacious rapacity,
Parading unclothed, bareness of duplicitous souls,
With a gashing defiance of insatiable desire to own,
Clandestine culture of misbegotten?
Board of museums and CEO’s glowing and bursting forth,
Grotesquerie of gulosity, take-over of corporate predators!

Let us not jibe and succumb to chauvinism,
Emasculated by oppression
Take heed that Freedom is not for sale!

Would the web revolution lead artistic endeavors to a political revolution,
By replacing galleries, museums and the collector’s system of ownership?
Would the internal calling of an artist overcome the external demands of market survival?
Would such a calling already exist in a natural state, without the intervening forces of manipulative trends?
Would such a calling be subscribed to the exchange of exhibitionism and voyeurism for sales, acquisitions, commodities, as well as to the will of managing agents?
Would we face a new reality, one free of stardom and economic maneuvers?
Would participation and isolation not make any difference if such a calling serves no other purpose but its own needs?
Would history become both irrelevant and important at once: irrelevant as to how one may fit in and important as to how one may understand its limits?
Would knowledge not always be intertwined with some burdensome measure of superstition?
Would we repel a paradox on an arrogantly moral ground or tend unabashedly to our primordial instincts?

Artist Website


May 31, 2008

Pillared vision of instinctive passion

Sung by nightingales cradled in daylight

Dread neither consequence nor precedence

For it belongs to eternity.


Reverberating and plangent, masking no longer

A solar plexus in protest to one’s limitations

Cracked, felicitous interpretation to his freedom

Away from the perverse shadows of cynicism,

Doubt no more, a drought of discontent.


Upheaval to communicate what’s most dear

As he rises from turbulence.

What’s most consoling of his inner lament?

Apollo opening Dionisio into the abyss of infinitude,

Bells ceased without tower to cling.


Let me rest on nothing but your caressing whisper,

Mused and detached

Return and departing at once

Carry this song into our universe.

Artist Website


Manifesto 2008

May 7, 2008
Triangulation Series #25-- oil on linen, 60 x 37 inches, 2009

Triangulation Series #25-- oil on linen, 60 x 37 inches, 2009

My work Triangulation Series 2006-08 expands on questions dealing with perspectives synthesizing concepts of pictorial space and infinity:  something I have worked on over the years.  I have allowed painterly abstraction/plasticity to express both in form and content a kind of art that goes beyond a material world of signs; my paintings reach for the infinite—the mystery and the poetry in every man’s individual drama.  I choose the golden ratio 1 = 1618 as a consistent format for nonobjective abstraction which is clearly inherent of infinite congruency [a manifestation common to all known perspective methodologies], to breakdown a dialogue on the fluidity of the vehicle of painting and its geometry.  At the same time, I establish a triangulation of the bare plane of the canvas which reaffirms its paradoxical nature as an object: where the fictitious flatness of the plane plays in suspension with the illusory spatial depth of forms expressed on it.   Though immersed in 20th-century aesthetics, I neither strive for a specific historical movement nor for the postmodernist agenda.  Simply, I look at making art as a “fleshy” product of human experiencing, a resultant of the maker’s own passion.  Just as the idiosyncrasy of an individual, indivisible in nature, is blind to causality, an aesthetic frame embraces all its senses and the image is only the result or residue.

Non-objective, timeless, or even existential—in this sense—the image or Kunstgegenstand proposes not to explain what the meaning of experience is; rather, the image manifests itself, provoking interpretation from the observer.


There are no outside sources nor preconceived notions of the final composition.  Gesturally and intuitively, I use the plane of the canvas as an active platform (in other words, a conversation, so to speak, takes place among the paint, the canvas and me as I apply paint onto the canvas.)  In variegated densities, layer after layer—transparent or textural—the work transforms itself gradually by spectral accruement.  In continuous dialogue, I work on several pieces at the same time so all are able to inform the other.  An inner rhythm from each composition thus unfolds and guides the shifts and the construction of forms: burials, resurrections, exaltations, veilings, reattainments—all thanks to the gritty and sumptuous nature of the medium; a moodiness arises from the interlocutors with its acrid qualities of dissonance and complementary transparency. Indeed, it is color, as texture that establishes the emotional landscape of each piece.  The finished work stands on its own as a concentration of multiple layers; each of the numerous strata is essential to the completeness.  There is a sense of multidirectional movement in each of the works that acts on the viewer’s eye as he/she glances over the delineated shapes and peers through the entanglements of strokes and arabesques.  The viewer comes away, I hope, with the sense of the works’ generative completeness of a universe making and remaking itself.


As I said at the beginning, I embrace in my love of art a sense of universality; I do this not for my own self-fulfillment, but for the cosmic order and interconnectedness in our own awareness of humanity, the unifying mode from all masters.  As such, I am perennially emerging as I wander around in my space of today’s uncertain and leaderless being, where authority is seemingly derived from conflicting, and confusing powers of disbelief.  Freedom has come to us but its ethers and incongruities make us stagger.

Ricardo Morin [1]

Artist Website

December 8, 2008

[1] Edited by Billy Bussell Thompson, Professor Emeritus

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