Photo by Alejo Arango

Photo by Alejo Arango

It is important to be restless.  Drawing must reduce and add simultaneously.  Processes can and should be built, deconstructed, and forced back together.  If this doesn’t occur, it should be shredded and rearranged. This is the search for an image- any image.  Lines suggest forms.  Hollows between lines suggest surface.  Lines then destroy surfaces.  This happens again and again.  If there is no experiment, there is no image.

Filming exists as action.  Anything can be used for raw material.  Films are best shown looped and uncut.  Old texts are recited out of context. Speech can be transferred to another person.  Music is reinterpreted as a template for noise.  Movements create lines in space.  Sound provides the markers.  In this way, films can be made like drawings.  No effects- only actions.

Drawing is a barely legible diary.  Being barely legible results in poetry.  The more vague and elusive it is, the more layered it becomes.  Emotions are vague as well.  This connection can be easily exploited.  Poetry cannot be trusted.  It can, however, be allowed to exist if it seems to be there.  If it does not, the lack of poetry is poetry nonetheless.  It does not need to mean anything.  


Charles Mahaffee was born in Decatur, Georgia in 1980. He earned his BFA (’05) and MFA (’07) from the School of the Art Institute of Chicago. Since graduation he has shown his work nationally and abroad in such venues as Lloyd Dobler Gallery, Julius Caesar Gallery, A+D Gallery at Columbia College Chicago, the 2011 and 2012 MDW fairs, the NEXT exhibition at Art Chicago, and the Action Field Kodra Festival in Thessolaniki, Greece. He currently lives and works in Minneapolis.

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