The Disintegrating Process
joshua camozzi milligan
dis • in • te • grate - v., 1. to separate into parts or lose intactness or solidness; break up; deteriorate.
2. physics a. to decay
b. (of a nucleus) to change into one or more different nuclei after being bombarded by high-energy particles, as alpha particles or gamma rays. 3. to reduce to particles, fragments, or parts; break up or destroy the cohesion of.
pro • cess - n., 1. a systematic series of actions directed to some end.
2. the condition of being carried on.
3. course or lapse, as of time. (1)
This body of work is an examination of some of the different expressions of the disintegrating process. This process, which is one basic component of life itself, acts in some degree as its own abstract entity, seemingly unending and without containment or constraint. In essence, the disintegrating process poses a vital question about life itself, and presents moral dilemmas in regard to our ability to increase or decrease the relative speed of this process on all levels both within ourselves and the world around us. At which point do we pass these thresh-holds of indifference toward consciously attempting to control what seems to be uncontrollable for the long term sustainability of our species? Instinctually, are we collectively preparing ourselves to survive the journey to what seems to be an unknown destination amidst a black and endless sea of chaos?
Eric Sloan has been focused on understanding key components of artistic creation and the ability to interpret that language into various styles and forms. His pathology is to be able to change styles like the transitional works of Picasso, and having an initiated response of a transfer to the physical world both through conscious and subconscious effort relying on instinct as a guide. The piece is becoming almost a collage of the time in which he is consciously a part of. Love, hate, sounds, images, environment, politics, and religion all take a roll to a certain degree. Through this body of work, Eric pays respect and homage to the master works of Beksinski, Klimt, Picasso, Schiele, McKeen, Munch, and Turner.
Joshua Camozzi Milligan has been working with an improvisational/ automatic style of painting for some time. For this new body of work, he has incorporated a new vocabulary of projected and planned direction and narrative. The narrative of this particular body of work is a reflection of delving deeper into physical and mental strain, for the sake of answers or new questions. In a time where people may be feeling confused or lost while trying to figure it all out, this body of work is an homage to those driven to the point of no return. The point where self induced or natural occurring delusions and hallucinations pave the path to vigilance and gallantry. Milligan tends to lean towards salon style in his presentation and this body of work has turn of the century spanish surrealist overtones. His inspirations include early Picasso, Dali, Mucha, Goldsworthy, 60s/70s “Fillmore” poster art, Barker, Steadman, Munch, Kandinsky, and Klimt.
These two artists have joined together from very similar yet different artistic avenues. This body of work is a transmission of thought and emotion facing obstacles we both feel need to be addressed with our capabilities, in a time of overwhelming odds for those who feel morally obligated to create.
Please join us on opening night to share in the experience.
(1) excerpts from Random House Unabridged Dictionary-2nd edition