Multiple “BoyPoolRhizome(s)”

My Drawing (2000) called BoyPoolRhizome used in various Deleuze and Guattari inspired publications and tattoos:

Book covers
• Drawing Boy Pool Rhizome used as Cover art for: The Polyphonic Machine: Capitalism, Political Violence, and Resistance in Contemporary Argentine Literature. (2018). By Niall H. D. Geraghty. University of Pittsburgh Press. 2018.
• Drawing Boy Pool Rhizome used for PhD cover art. ‘science and technology studies, spatial politics and future making’. Requested by Dan Kristian Kristensen. 2017.
• Drawing Boy Pool Rhizome used for PhD cover art . The power of form: Swarming resistance in cyberspace’. Requested by Imogen Armstrong SOAS. 2016.

Book illustrations
• Drawing Boy Pool Rhizome used in Degrees of mixture, degrees of freedom: genomics, multiculturalism and race in Latin America, By Professor Peter Wade, British Academy Wolfson Research Professor. Published by Duke University Press. 2017.
• Drawing Boy Pool Rhizome used for: The Words of Others: Remembering and Writing Genocide as an Indirect Witness. By Caroline D. Laurent. (Used in defence of her PhD at Harvard University – Department of Romance Languages & Literatures). 2017.
• Drawing Boy Pool Rhizome used for a conference on Radical Democracy at The New School for Social Research. Requested by Signe Larsen – The New School for Social Research in New York. 2016.
• Boy Pool Rhizome used for ‘Contemporary Art in Coffee Shops’ Cincinnati, Ohio, USA, Requested by Mary Clare Rietz. 2016.
• Becoming Rhizomatic used by Bibliothèque publique d’information (public library), in the Pompidou Center, Paris, for their online magazine, Balises. Requested by Fabienne Charraire. 2018.
• Drawing Boy Pool Rhizome to be used as a tattoo. Requested by Jasmin Degeling. 2017.

More at:

Comment by Marcin Kedzior on a Deleuze FB site. “Let me just jump ahead and explain further! Of course in relation to Deleuze it makes sense to use line as the primary element, the various entanglements of lines, ways that supple structures and representations arise, always layered but absolutely flat, with different densities and intensities, and at different speeds…this relates to cartographic practices, writing, and relational elements–the line as both cutting and connecting. Lastly, to say it is chaos? or ugly? what is that even from a Deleuzian point of view? In any case, composition is less important in this case than the SYSTEM (look at Deleuze’s Klee plateau “Of the Refrain”)–Klee’s form of working is certainly a precursor to this drawing. Dissolution of bodies…lines leave your face, ugly face or not, it doesn’t matter, mix with other lines and form new ones. These lines are physical descriptions but also itineraries, most importantly lines of connection, transformation, becoming.”

Comment by Ed Leenders:

Replying to Marcin Kedzior like you describe the drawing with your knowledge of Deleuze it looks as if this work directly explains his philosophy.
For sure you know Deleuze’s book on Bacon, there he makes a difference between figure (with f) and Figure (with F) that expresses the intensity of the visible.
Can there become an appearance of a Figure in this drawing above?

Reply by Marcin Kedzior Hi Ed, I’m not completely familiar with that distinction–small f is static representation and subjectivity, capital F is forces that might arise from material, physicality, or other things? If that’s the case then YES! Here the striking thing is the multiplicity of unraveled bodies and the primacy of multiplicity before any single static body is individuated. Note the subtle grid (or more like nets of subjectivity) that underpins it and some very precise transversal diagonals. So if I am reading Figure correctly, the movement beyond the singular, contained body and possibilities of forming collective bodies is what this drawing points to for me.

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