2001 THE CAGE OF SPACE

There is a transition from the notion of art as a window onto the world to the idea that the artworks can constitute a world.

The cage signifies not just mans encroachment on nature, but the confines that nature places on any life.

The series was anti-illusion, the shaped canvas and the painting as object.

I try to open spaces of indeterminacy within the work to demonstrate a second possibility.

Reality has different levels, which may remain parallel and never meet.

I use marginal, the archive rather than the select, a sort of blindness.

The knowledge and art of making do, I enter the world of things as there part of the world.

Mainly I deal with the role society assigns to objects.

The visual dynamics of a semi-circular support contort maintaining equilibrium in defiance of gravity.

I wanted to explore the reversal tunnel at the beginning of a left-handed world.

I convert to Neoplasticism, retaining a figurative reference, revealing the weave below, typical of the series.

I used raw jewt as the base surface, everything is set up to be read through mirrors and the book's open leaves, amalgamate into a complex set of displacements and metaphors.

The Surrealism of the strangely familiar image as a matter, not of iconography, but of formal strategies inseparable from the pulse of desire.

Paintings are painted in almost a mosaic-like pattern, as shapes and patterns become increasingly important compositionally.

The installation also alludes to the upheaval and dislocation characteristic of recent history. There toy like innocence ironically belies their actual capabilities and eschews any formal or metaphorical elaboration.

Objects presented as art, but refuses to let its factual, material or functional identity implies endless extension beyond the frame, compelling the viewer to move forward or backward in an attempt to locate the moment of distance that causes the elements to resolve.

They clue us in to the complexity of the gaze that is central to these works. Expectation and fact slip past each other.

The purported reality claims our intention in a way; this cryptic signpost conflates gravity and speed, yearning and limitation.

Idea-driven objects and actions that are cloaked in simplicity, skate on the thin ice of logic.

425. Texere

(Latin verb to weave)

A visualization of counting via woven grids. Papillotage, a type of intricacy, expresses both the gaze and the acceptance of the object seen, as the blink, which cuts off the eye from contact with the world.

428.

ARS LONGA VITA BREVIS

76 x 62.5” encaustic on wood

Mysteries of lives lived in our bodies. Sense of sight is matched with an image of an eye. Hands have a dual metaphor for touch and dualalities such as reason and emotion.

The work deals with seduction and the necessity of having control over ones feelings. Disembodied hands, torsos and legs come from hieroglyphics and other drawings of hacked warriors found in pre-Hispanic codices. I incorporate disembodied body parts that occur in pairs in a desire to resolve the idea of harmonic unity of the whole and activating the ambient space. The work references the language of sympathy that is used in politics. Most communication is completely untrue.

431. DIE FESTE HALFTE EINER KUGEL

(The solid side of a sphere)

The work is rooted in social needs and references a shaping of environment in a manner that reconciles the advance of science and technology with the rhythms and patterns of human life. This shape illustrates certain ideas about the logical constitution of simple geometric solids. This work is a system of the invisible systemization conveyed to our senses, like yin-and-yang, an ancient symbol signifying duality and the balance of opposite forces.

436. BETARA DESA

In part a parody of ethnological displays in natural history museums. The title refers to a Balinese goddess, sought to reverse conventional ethnographical practice, which traditionally has seen the West as the Self and the rest of the world as the other. The work attempts to push the postmodern or multiculturalism association of art and anthropology to a new limit, showing a relationship between ethnography and art. I used disembodied hands, torsos and legs, which comes from the hieroglyphics and other drawings of hacked warriors found in pre-Hispanic codices.