These three pieces seem to be developed in an advanced decorative style. There are images flirting thrillingly with the semiotics of cursive scripts, but refusing to be confined to the rules alphabetic order, direction or rendez-vous with any particular point in space and time. You themes stand exquisitely on the threshold of several related meanings.
Your observation is right-on again. In fact, I often tend to encrypt specific meanings or wishes into cursive symbols that I scatter around my images where one might expect to find writing of some sort. I tend to forget what I tried to 'say' through the abstract forms, but usually they're something connected to the more overt symbols in the picture. I have gotten a lot of inspiration from the Chinese script - the painstaking repetition of characters has gradually changed how I regard the relationship between ornamentality and meaning. I suppose my works have endless possibilities of interpretation, I'm always interested in other peoples' associations, as they enrich my own.
It's the quality of 'meta-meaning' I like. You stay tantalizing on the threshold of different meaning, yet you have the guts to stay with what is important - the meta-meaning. In a previous life I was an Urban Sociologist. I don't remember much about it now but we constructed composite variables which applied to no one thing but accounted for a certain amount of variance. I admire Jackson Pollock for the same reason - there is such imagic richness in his work because he had the discipline to not go beyond indeterminate form. My early attempts at abstract Art are characterised by me manoeuvring forms into a melange of recognisable objects. I had to develop a whole new system of mark making to overcome this.
Hmm, this is probably irrelevant, but I came to think about it and I suppose bats use echolocation and the moths merely try to avoid them. I'm currently writing an allegorical fantasy story based on moths on my tulinuotio account, so I suppose I should get my facts straight.
I suppose I like making my artwork into sort of mystical quasi-icons that give a lot of interpretive cues, to better delve into the subconscious. I enjoy theories, words and visual symbols, but for me they are less like boxes where to stack the multitude of lived experience than transforming single points in clouds of moving light particles that keep re-arranging. For some this might just be a metaphor, but in my case it is quite literal. Fine-tuning my choice of words, shapes and images to suit the context is based on a feeling of resonance that resembles the echolocation of the moth, sensing the empty space around objects. However, I am still in the process of deconstructing and freeing myself from form to give the reins to my intuition. I usually include a human or animal character in my pictures to anchor the abstract shapes in my usual mode of perception. I admire fully abstract representation, such as your work, but I have had some difficulties focusing on its creation. Hmm, this may be closest to abstraction that I have done, representing the feeling of a particularly satisflying musical transition, though even that has some sort of a face. kuume.deviantart.com/art/Ether… Oh and by the way, what do you mean by a system of mark making?