An experimental school that I attended in southern Oregon purchased all of the surrounding forest that it could in 2000 in order to protect the forest as the Bush administration was opening the land up for logging. A number of students and I helped to try to restore the forest. It had been logged twice in the past and its canopy was too uniform as a result. We needed to layer the canopy by cutting the shorter and less healthy trees down. In the long run this will allow the remaining trees to become an old growth forest. It was fun and we got to play lumberjack. We turned the trees we cut down into timber and burnt the remaining brush. These brush fires were always potentially dangerous. One of the biggest dangers was that a dead stump could catch fire and the fire could actually burn underground following the root system. If this happened perfectly healthy tree 100 yards away might spontaneously combust, as if it had been seized by a mystical epiphany. This is how I think of the logic of As Painting. Painting is like a fire that has gone underground, but it doesn’t just pop up at random even though it might appear to. there is an underground logic at work, a structure that has form that it follows, a series of veins or roots.       (Thomas Gokey, here.)



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