A sequence of 42 paintings on skin-like, translucent paper encode patterns of identity and place mined from Camargo, forming an installation that encircles the viewer in an abstracted mnemonic map. Extending my interest in conceptual gene pools, these paintings on paper were developed as daily recordings and observations of the actual spatial relations of the private work/live and community environment of Fellows at Camargo. The dynamics of physical location are combined with a more subjective and time-based interpretation of conceptual space, levels of complexity and structures of inter-relationships. Physically, the installation follows the interior space of the visual artist's studio using the actual sum of the linear dimensions (approximately 62 total feet) of the walls as the guide to the ultimate length of the work. The paper was divided into continuous segments (9 x 18.5 inches each) that will ultimately be joined for installation. While emphasizing the scale of the room, the works retain an intimacy and complexity of marking that requires close and focused inspection. The quality of ambient perception or the way in which we gather and receive information as we move through space is developed within this project through its form as a panorama that encircles the viewer. The prevailing perception of view at Camargo as it is situated in Cassis is within an unobstructed panorama of water, sky and landscape. "Panorama" is the name of the Foundation's most predominant building. My project overlays the notion of "panorama" on
the conceptual framework of ideas and creative works in an open state of progress, mutation, grafting and development. The project is further augmented with documentation through photography, and a separate set of 14 works on paper that "map" in similar terms, the sequence of project discussions that took place over the course of the session.