Weaving the Web | Bricolage

Weaving the Web: Bricolage

(Context)

FOUNDED 2010 | ART, FILM, PUBLISHING, DESIGN, & PRODUCTION

(Investigation)

Painting, Bricolage, Film, & Cultural Exchange

(Partners 2021 - present)

Rusha & Co. &
Curator

Monolith: Everything Returns to the Earth, scrolls, & posters, Installation view We Breathe the Same Air, Counter-Archive, Rusha & Co., 2026

In The Savage Mind (1962), Claude Lévi-Strauss describes bricolage as a way of thinking and making through materials already at hand. Fragments of earlier constructions acquire new relationships and meanings through their continual recombination.

Over thirty years, I have accumulated paintings, drawings, collages, studies, and fragments into a counter-archive. Its material forms include the Monolith, Everything Returns to the Earth, a sculptural accumulation of artworks; eleven exceptionally long painting scrolls; and thousands of fragments, many double-sided. In parallel, a digital archive of approximately 2.2 million files has been processed into 2,200 still and moving-image compositions through software, scripting, and computational experimentation.

These forms remain in motion. The Monolith is gradually dismantled, the scrolls unfold, and fragments enter new compositions, original artworks, publications, and an eleven-episode film with original soundscapes and music tracks. Each transformation preserves traces of what preceded it while opening possibilities for what comes next.

Weaving the Web, Medium: In Medias Res, Episode 1

Monolith: Everything Returns to the Earth, detail, We Breathe the Same Air, Rusha & Co., 2026

Scroll detail, We Breathe the Same Air, Rusha & Co., 2026

(Every Painting Is a Node)

Every painting is a node in an expanding network of images, encounters, and relationships.

Euclidean space describes the measurable dimensions of an artwork, its physical boundaries, scale, and position. Eulerian relationships, understood through the connections of a network, describe another condition: how images move across time, materials, people, and institutions, regardless of physical distance.

A painting occupies both conditions simultaneously. It exists as a material object and as part of a changing constellation of images, memories, and encounters. A fragment removed from the Monolith may become an independent artwork, reappear in a film, enter a publication, or find its way into a private collection. Its physical location changes, but its relationships continue to multiply. Together, these spatial and relational conditions offer a way of understanding the production and circulation of art today.

Fagments, We Breathe the Same Air, Counter-Archive, 4 x 4", Rusha & Co., 2026

Fragments, Installation view We Breathe the Same Air, Rusha & Co., 2026

(Circulation & Exchange)

The work extends beyond the individual artwork through film, publishing, exhibitions, and cultural encounters.

Through The Pioneers, Rusha & Co., Curator, and Agile Cinema®, paintings and their histories circulate across material and mediated forms. Each presentation generates new relationships between artworks, audiences, collectors, and institutions.

Rusha & Co. provides an exhibition and gallery context for the paintings and counter-archive. Curator extends their circulation through editorial publishing and cultural dialogue, while Agile Cinema® transforms images and encounters into an evolving film structure. These activities remain interconnected rather than separate destinations, allowing paintings to generate new images, narratives, and relationships across time.

Together, these initiatives are developing a multimedial, multivocal, and multichannel series throughout 2026–27, culminating in an exhibition and accompanying public programming at Rusha & Co. in winter 2027–28.

Hand-made limited edition posters for editorial and exhibition productions, Installation view, We Breathe the Same Air, Rusha & Co., 2026

Fragments, Installation view, Agile Cinema®, Rusha & Co., 2025

(Participation)

Art becomes a social and cultural process through the participation of those who encounter, interpret, transform, and circulate it.

Participatory media challenges the distinction between producer and audience, replacing one-directional communication with networks of exchange in which meaning develops through multiple voices, perspectives, and forms of engagement.

The Pioneers extends this proposition into artistic production. Paintings, films, publications, exhibitions, and encounters become interconnected sites of participation rather than discrete cultural objects or events. Each contribution has the potential to generate new relationships, interpretations, and material, expanding the investigation beyond its initial point of origin.

Artists, curators, writers, filmmakers, arts and brand managers, collectors, patrons, and cultural organizations are invited to explore participation in the developing 2027–28 program of exhibitions, screenings, editorial productions, conversations, and public events, culminating in the planned winter exhibition at Rusha & Co.

Participation may take the form of artistic contributions, curatorial dialogue, research, interviews, film and publishing initiatives, cultural partnerships, or the development of new forms of public engagement. The intention is not simply to extend the audience for art, but to investigate how its production, interpretation, and circulation might become more reciprocal, distributed, and collectively generative.

‍Inquiry | Expressions of interest from individuals and organizations wishing to participate in the 2027–28 artistic and cultural programming.

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