Seven pieces presented in their entirety without cropping — each canvas is restored to its true proportion against a neutral gallery background.
A subrealist exploration into the core of the matrix. Here, radiance manifests as the residual vibration of form before it takes a name—a study in verticality and layering executed entirely with a palette knife. The juxtaposition of pigments creates a dynamic where light seems to emerge from within the material itself, rejecting passive representation.
What form holds onto before giving way. The precise moment when intoxication becomes a rupture. This subrealist reinterpretation seeks the shockwave and tension of a physical vessel subjected to intense energy: oil paint builds up in relief, mimicking the resistance of the physical body to its breaking point.
The transition from frame to cosmos. The sacred here is not a celestial geometry projected upon the world, but an eruption of immanent energy contained within matter itself—a vigorous, almost sculptural impasto. Sulphur yellows, mineral blues, and deep purples clash, holding the viewer's eye at the precise threshold of form before form.
The medium ceases to be mere pigment and becomes a living relief. A subrealist metamorphosis of the historical print: the hill becomes a dynamic swirl, and figures fade in favor of energy flows sculpted with a brush. The eye traverses the surface to touch the very texture of the gesture.
An intense physical dialogue between the powdery vibrancy of raw pastel and the sculptural waves of oil paint. The “inverted” muse is not a fall from grace, but the creative catalyst: by tipping over, she shatters the formal structure to release the primal underlayer and initial impulse.
“Strength lies not in the absence of fracture, but in the alchemy of reconstruction.”
Deconstruction and reincorporation of form: dense impasto transforms fragmentation here into a visual manifesto of peace, resilience, and the alliance of polarities.
Cycle closure. A convulsion of light and matter preceding finished flesh. The sculpted impasto becomes a haptic trace—in the sense articulated by Merleau-Ponty and Deleuze—engaging sight as an organ of touch. A philosophical framework examining primordial androgyny: an original state where energies coexist in potential before any binary classification.
“Healing time does not mean freezing it, but purging it of its teleology.”
Oil on canvas, heavy impasto, knife-cut relief: Guérir le Temps Atonal pushes Subrealism's founding principle — form before form — into the register of duration itself. The triptych is no longer a fixed image but a determinism of creation observed from multiple angles, where matter is built to be re-read differently at every pass of light and every degree of rotation.
Three Temporal StatesStretched-out time, continuous flux, vibratory wave across the classical frieze hang.
Erection, bodily presence, staccato rhythm after the 90° gravitational tilt.
Atonal time released: the central panel turns, freed from any fixed reading.
Under raking light, the heavy impasto behaves as a moving haptic diagram: Guérir's polychrome surface fractures into shifting glare and colour, while Atonal's mineral relief slows into dense, near-monochrome shadow. Between the two, the rotating Le Temps panel carries the composition from high-frequency light down to low-frequency matter and back — a chronological arrow dissolved into a perpetual, self-renewing loop of plastic states.
Toward a Pure Duration — Conceptual ClosureBergsonian durée holds that time is never a sequence of discrete instants but an unbroken, qualitative flow — memory folding continuously into perception, an élan vital resistant to all spatialization. The Deleuzian haptic diagram supplies the mechanism by which that flow becomes visible in matter: not illustration, but chaos-germ, force before form, the manual gesture interrupting optical convention to return the eye to touch. In Guérir le Temps Atonal, the palette-knife relief is this diagram made permanent — each ridge of oil impasto records a force that preceded any image, so that what the viewer eventually sees is already, underneath, something the hand once felt.
This is where Merleau-Ponty enters as method rather than gloss. Before the rotating central panel, the spectator does not observe kinetic movement from a fixed, disembodied vantage — they undergo it. Raking light sweeping across knife-cut ridges converts sight into haptic perception: the eye palpates the surface as a hand would, tracing the polychrome vibration of Guérir's high frequency into the mineral low frequency of Atonal. Vision here is corporeal before it is representational.
This displacement completes the work's rupture with the Albertian window. The classical frame — Portrait or Landscape, a fixed aperture organizing a world already composed for a stationary eye — is teleological: it presumes an arrival, a correct angle, a finished reading. The Liminal Framing that Treeskulltown inaugurates with The Atonal Clock refuses that teleology outright, subjecting a single canvas to horizontal frieze, vertical bascule, and unresolved kinetic rotation in turn, so that no orientation is ever the "true" one. Time is healed, in the triptych's own terms, not by being stopped but by being purged of its destination.
“Not Alberti's open window onto a world — but the canvas reconceived as a temporal membrane.”
It is this same gesture that the forthcoming book Fenestra Aperta will theorize at length: the fenestra aperta displaced from static aperture to porous, cinetic membrane, pulsing at 0.5–2 RPM between states rather than fixing one. Guérir le Temps Atonal stands as that membrane's first working prototype — Subrealism's Kinetic Temporality given its inaugural material form.
"The body has no organs, only thresholds or levels… This is not transformism, it is becoming." — Deleuze, Francis Bacon: The Logic of Sensation
(CoS) The Body without Organs operates on the mechanism Deleuze isolates in Bacon: the diagram does not illustrate, it sweeps away. Before the eye can assign a contour, a posture, an organ, the impasto — laid on with knife and heavy brush — has already dismantled the figural data that preceded it. What Treeskulltown names the proto-form is exactly this residue: not an unfinished figure, but an intensity captured upstream of any possible completion. Form before form is not a way-station toward figuration — it is figuration's structural refusal.
The Diagram and the Proto-FormAcross the canvas, a central body holds no defined organs, only zones of variable intensity — raw flesh seized before any anatomical assignment. The Figure is caught mid-devenir: neither posture, nor spine, nor incandescent vegetal form settles into legibility. It is traversed, stretched and torn by the force-field of the ground rather than posed within a setting — the diagram acting directly on the body, not around it.
Haptic Vision and Thermal ModulationThe triptych distributes this proto-form across three zones of plastic temperature. On the left, incandescence — carnal pinks, ochres, solar yellows — where matter remains in flux, unconsolidated. At the center, the vertical figure coils against itself; blues and violets cross it as ascensional vectors without ever stabilizing it into recognizable anatomy — it is traversed rather than inhabited. On the right, the register cools into greys and slates, near-mineral restraint, where the same rose-toned silhouette reappears, this time held in near-geological contention. This is not a three-part narrative but a single intensity declined along one thermal gradient — solar to mineral — legible only as the eye travels it the way a hand travels a relief.
Contention and the Critical EquilibriumWhat keeps the triptych from tipping into pure chaos are the same structures of contention Deleuze locates in Bacon: dark ligatures and acid striations functioning as tension cables rather than contours. The central body — the Body without Organs proper — is pure matter, palpitating flesh caught before any anatomical assignment. The work holds on this ridgeline: neither full dissolution into the vectorial ground, nor fixation into a recognizable figure. This is precisely where the Subrealist strategy resides — fixing the subject at its point of raw incandescence, at the exact moment plastic tension still precedes the structuring of the image.
Treeskulltown · Subrealism · The Secret of Radiance · Guérir le Temps Atonal · (CoS) Le Corps sans Organes