Abstract
This paper re-imagines the space of painting through the visual space of juxtaposed text, reflecting the expanded field of painting since the visual turn in the humanities. Drawing on Jacques Derrida's writings, such as "Glas" and "The Postcard," it explores a new painting practice of grafting space. Derrida's multi-spatial text allows for the free linking of texts, notes, and explanations from different contexts on one plane. This fosters new assemblages, paralleling how paintings invite viewers to form new associations from different vantage points. Central to this practice is the creation of large-scale cyanotypes on transparent fabrics, arranged into an immersive labyrinth. The transparent nature of the labyrinth creates a palimpsestic experience, where overlapping spaces facilitate cognitive reading. This approach activates multi-spatial and multi-sited perception, embodying Derrida's concept of grafting. I propose that Derrida's juxtaposed text marks a postmodern mode of grafting in painting practice, crucial for initiating a process of becoming, putting every object, degree, or intensity in motion and in relation. By demonstrating Derrida's grafting in space, this study articulates an overlay in painting through multi-framed canvases, walk-in installations, and the subsequent walking experience. This research contributes significantly to Derridean studies and contemporary painting discourses, re-evaluating the relationship between the space of painting and juxtaposed text.
Author Information
Zan Wang, Lancaster University, United Kingdom
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