2005 THE DILATION AND CONTRACTION OF SOUND

Focuses on Duchamp’s two way door(1927) which opens on entry way to close another.

I attempt to show letters accrete into words and words into meanings from cuneform to digital code. The works are a conceptual inquiry into semantic systems. Letters oscillate between abstract and referential. Their dual status as independent shapes and associative symbols. Systematic variation, social and psychological disconnection, “Alone in a crowd behavior.”

Human subject, as marionette with dominant ideological apparatuses (puppet-like) responing to insistant questions. The turtle are symbols of fertility, vitality and patience.

In order for a work to be pure, it must confront pressing, but unanswerable questions about the nature of life and death. Intimacy and empathy, there seem to be a detectable feeling of exhaustion, as if the Art world is suffering from constant jet-lag. The backlash of increased mobility. Influence and meeting lay in the sadness of the unavoidable departure with that separation and the sense of loss. I used the artist’s breath on the window glass, the plane of separation between the camera’s eye and the viewer’s world. Elsewhere no longer exists.

This series deals with the broader social shift from the real to the virtual. I first got the thought in my head from an antique wood chiropractor’s sign lettered in gold leaf on a black smalt background. (Smalt is a pulverized glass whose sand like texture contrasted with and enhanced the appearance of gilding and also made the letters appear slightly indented, as if embossed.) This is typical of a quality sign of the early 1900’s. This gave me the idea to use glass beads as a top surface. In an automated act, a palpable, textural connection to our past is sacrificed. Infused with nostalgia we forgo the scenic routes, for sterile speed. I emphasize the material entity from the wall into the space.

THE ENVELOPE

6' 3" X 5' 2"

Encaustic and glass beads on canvas.

Extinction is the point of where all things become immortal.

"We die only only once, but for such a long time." Moliere

435. THE BLACK RAINBOW

32” x 27” Encaustic and vinyl on wood and metal

452.1 A JOURNEY TO THE TABLE

A tablecloth unfolds, spreading itself slowly over the kitchen table. The suspended time our imagination fills in what we think.

Fingers woven, palms touching, we sit around. The changeability of an environment may turn the mobility of an individual

into a relative thing. The cup balancing over the surface floating, our voices moving through our hands. And somewhere

between the reality of morning the presence of sleep. Recollections from reality to open up ways to a future

which is in no way certain. My cheeks ached from the wind, the city wrapped around me like a stage.

The clouds heavy, kept the sound trapped within the walls. The geometry of the space can remain as the subjective

desires of those moving inside it’s change, even in complete immobility. The moment of its implementation is the moment

it’s life begins. In that moment the space can be “isolated” from the unbending rules of reality.

The design of space is a processed framework, a “setting not for imposing forms on something broader and already existing,

but in which these forms and actions are sought in predetermined ways. From a different world suddenly our paths crossed.

Vision has to do with trust , has to do with reality. The surface an elementary geometric, within it the dynamic of the forces,

space is above all a tactile one.

Temporal continuity is overthrown in the process devoid of references, memories from the future The focus is on the

relationship of the artwork to the viewer, onlookers are silhouetted in side the figures.

The suggestion of instability and changeability. I used glass beads, to create a stereopticon view.