About:  The paintings and texts do not represent appearances, rather, they represent that which produces appearances, the conditions of the apparent. The paintings and the words invent a description of what happens before an image appears: a figure, a creature even, that waves, hovers and melts; a pre-image. The paintings and texts make manifest these movements of appearing. They are not 'about' the production of appearances, but attempt coincidence with these processes of appearing.

Attempts at coincidence are made through parallel processes of making visible: printing, moulding, repetitive accretion and erasure, description and redescription and techniques that allow both words and materials (paint, paper, glass, wax, plaster) to generate images of themselves, automatically.

These parallel processes, or movements not only attempt to repeat the initial generation of appearances, but also successively and sequentially to repeat that which sustains appearances, that which hollows out the intervals out of which appearances are continually made and remade. The paintings and texts produce a succession of provisional appearances, a succession of written and painted essays, or sketches. The sketches are outlined and erased, projected and cast aside and, through their provisionality, engender the production of further images, further appearances. This generation of images and texts repeats the movement of appearing and the insistence of the apparent.

The juxtaposition and sequencing of some of these images and texts informs an ongoing project (see Project Space) to be carried out on this website.

Born 1960; trained at Goldsmiths College (1980 - 1983 and 1995 - 1999); Mark Ryder lives and works in London.