1996 THE BUSH OF GHOSTS series

The exchanges that bind the seer to the seen, dealing with blindness.

Inspired by Jean Delannoy’s 1946 film, “La Symphonie Pastorale”.

332. NOIV MUIR

The name of a communist paper written in NYC by Leon Trotski, before the Russian Revolution. His name was originally Bernstien, but he took on a new name to get out of Russia. When Lenin took control of the country, Trotski returned to Russia to form the Red Army. Lenin was not in good health, so Stalin became a threat. Trotski went to Mexico City To visit artist friends and was murdered there. There is a waxing and waning or outright purging of the image, reflecting the intention that the meaning of the painting remains open, and that figures function as archetypes in the Jungian sense. I pattern nature as a phenomenon in the atrophying of vision. Knowledge flat lines and the seemingly easy answer remain in the realm of the unknown. The object of our habitual blindness is painted on fabrics.

I took the analogy of the bedcover as a surface of meaning. which occasionally add Aanother subtle layer of pattern to the process, covered with a layer of yellowed resin. Conceptual ones join these visual complexities—The substratum for all these works suggests a membrane, which cloaks ordinary reality. Contradicted by often blurred, closed or apparent sightless eyes, as introspection of being blind. I used the hand –sewn traditional fabrics associated with significant cultural rituals such as marriage, funerals and ancestor worship. I use images that visually pries open its subject.

Quilts as the top surface, cross the boundaries between craft, tradition n and contemporary art art. There is a waxing and waning or outright purging of the image, reflecting the intention that the meaning of the painting remains open, and that figures function as archetypes in the Jungian sense. I pattern nature as a phenomenon in the atrophying of vision. Knowledge flat lines and the seemingly easy answer remain in the realm of the unknown.

The object of our habitual blindness is painted on fabrics. I took the analogy of the bedcover as a surface of meaning. Another subtle layer of pattern covered with a layer of yellowed resin. Conceptual ones join these visual complexities—The substratum for all these works suggests a membrane, which cloaks ordinary reality. Contradicted by often blurred, closed or apparent sightless eyes, as introspection of being blind. I used the hand –sewn traditional fabrics associated with significant cultural rituals such as marriage, funerals and ancestor worship. I use images that visually pries open its subject. Quilts as the top surface, cross the boundaries between craft, tradition and contemporary art.

331. THE QUILTED DREAM OF THE SUN’S EMBRACE

Based on Marquerite Yourcenar’s Hadrian’s Memoirs ending with his drowning in the Nile, was a philosophic meditation on power.

Presents a spiritual catharsis triggered by immersion.

Painted on fabric, pitching pattern of a fiberglass folding blind behind a quilt.

Using the method of pliage (folding) borrowed from the kilt, to address the problem of structure by making structure obedient to the process itself.

The rubbed over texture Squares resemble those of a game. Sand-textures the surface and repels the hand.

The production process supplants the breast, dismantling the fetishism of the esthetic object.

In India, according to law, certain types of people cannot be cremated at their death, among them lepers, holy men, children and those that have died of snake bite. Their bodies are dumped in the Ganges where they are devoured by dolphins.

Styx, the river bordering the ancient Greeks Hades - a whisper of obliteration over a river of death.

The illusionist depth of the ripple like pattern wreaks havoc with the symmetry, keeping one’s eye bobbing vessel-like.

A statement of ancestral contents, inspired from Loise Bourgeois fabric work and articles by Hannah Hoch of Berlin’s early Dada movement. The Surrealist fondness for body and clothe fragments, building patch works encrusted with the history of process.

Negative spaces are layered with pentimenti that reveal painting as funereal, invested with the weight of passage.

335. SHADOWS FROM A WINDOW

42 X 53" STONEHEDGE RAG

336. WITH WINDOWS FOR EYES

Deal with images on the verge of vanishing at the edge of perception.

Second sight was implied using of pale horses, prized for their beauty and grace, have long served a dazzling array of visual function, the horse is metaphorical of the trophy pet.

Assorted white figures enveloped in mist, signifying moments of loss of consciousness.

The windows function as emblematic signifier of the permanent night of blindness.

Symbols of mythic characters portrayed on sashiko, a quilted cotton from Japan, with carpet padding creates a surface sculpture functioning as image.

Thus—to paraphrase Milton’s sonnet on his blindness—they also serve who only scan and match.