Echoes. Dreams. Elaborations.

JQ City Roots Timelapse Pt 2 from Jordan Quintero on Vimeo . "After watching the (excellent) film adaptation of Cormac McCarthy's novel "The Road" last night, I realize that basically all the art I have ever made has been about the Apocalypse. Not the Apocalypse of St John, but rather the environmental and nuclear and genocidal apocalypse that is currently happening, right now. It is the background to my entire life, and in my work especially, the relationship betweeen background and foreground, subject and object, content and form are symbiotic, amorphous and continually in flux. I've been working on describing my work, and if I had to pin down a theme, well, how could anybody working right now make art about anything else? It seems to be important, as an artist, to document these goings on, and their effects on subjectivity, consciousness. If any intelligence might be around to look at stuff later, it would be good for them, poignant and stuff, for the

Structure: To my mind, the moment and them memory are the mysterious quanta at the forefront of human understanding that need to be analyzed, cogitated, measured, and theorized in much the same way as Max Plank's quantic energies of a century ago.  (as explained by Mr. Richard Fyneman) Meaning and Artwork: Labor is important in my notion of artwork because of my interest in meaning (semiotics).  In architecture, also, codes and meaning, responsibility for "every mark made on the page", is an a priori supposition. In woodworking: if every move you make is a pain in the ass, you make sure it's the right move first. Also in painting. But, there is the notion that all thought is only precursor or corollary to intuition.  So my paintings are trying to hold both analysis and intuition, calculation and feeling, and are often about that struggle.  Art is the place where message and metaphor flow into each other, content and form embrace fully, and the

2012—2013: Pt 1 Being hurt in my spine. Thinking of society, culture, history, psychology as organic systems, thinking of Joseph Beuys "social organism" and "social sculpture", reading and re-reading The Marriage of Cadmus and Harmony  by Roberto Calasso, translated by Tim Parks, Ovid's The Metamorphosis, Frazier's The Golden Bough, exploring mytholgy, it's organic nature, the way it blurs edges and boundaries and categories.  Thinking of chaotic systems, violence, repitition, (Nietsche's "the myth of eternal return") fear and antagonism of the natural world, yearning for absorbtion into the natural word, crisis of meaning.  Drawings of omens, evidence, patterns, translations, ideas, moments, nature.