Figure 1. To what end is nature? The pleasure of making sense out of material, the logic of what attention selects to see and smell. For example, nothing can be said about the white body of this branch in the grass in the morning except exactly what it seems to be. Nature is collaboration between man and vegetable and resides in the harmony of both. The collaboration between absorbing agent and her descriptive machinery. Nothing is quite beautiful alone so anything beautiful is one object and one meaning knit together and seam is one looked-at surface. Nothing is quite alone when looked at. According to the proposed system, so-called spiritual particles are accessible only in absolute solitude.
Figure 2. At what point, in this encounter, is contact made? In making nature make sense appearance must be made to face the longing of looking. Given that almost all individual forms are agreeable to the eye where do the acorn, the grape, the pine-cone end and the lion’s claw begin? Nature, as animal and as alone as possible. The shapes in this frame are a conspiracy designed to reveal the impossible autonomy of Nature because looking, seeing that it wants, will never be naturally occurring. The only visible thing is surface and this is always and only ever past looking.
Figure 3. Nature, invisible without words to reveal it, see? language, sleep, madness, dreams, beasts, sex are explicable only to the extent that each is arranged according to each other. For example, sprinkling flour on the ground and waiting for footprints to appear. Language is logic cloaked in image cloaked in language. While the photograph stages an assault on solitude, language articulates its probability without asking for an anchor/essence. When Discourse clothes itself in images the result is a long list of what nothing looks like.
Figure 4. On whose property is the sublime located? Spirit standing for spirit, the ritual of making sense out of what appears. As any state of the mind can only be described by presenting that natural appearance as its picture, the sacred process is undoubtedly descriptive. The sacred process is, for example, to worship substantive evidence and to trace the borders of a territory, to define the limits of reason according to the weather. Spiritual fact is agreed upon by solitary being and solitary being though each is accompanied through the sacred process, the extraction.
Figure 5. Does nature appear? Discourse, as extracted and sacred information inflamed with passion or exalted by thought, clothes itself in images. To illustrate the utility of nature one must illustrate the inutility of beauty. Beauty is all the descriptive systems involved in the construction of nature and description is necessarily the opposite of what it describes.
This series appears in the anthology Natural in Verso (Mariposa Azual, 2015), edited by José Duarte and Margarida Vale de Gato.
