A meeting with the art.

There is the event, what occurs after, and what will be remembered; what is in the frame and what beyond it, who stands beholding, and what presents itself, as composition.  The artist tries presenting Time as concrete. For example, here’s a calendar and it can repeat endlessly without naming the century. Following these questions out, and out, and out, she creates a dizzying array of images, depicting a history. The effect is a sense of overwhelm, a sense of being tiny by comparison, crushed by the scope and depth of it all. Some will retreat immediately. For those that remain, there are other effects to come, and one of these is a certain euphoria of spirit, suddenly released from certain presumptions about its individual weight.


Inspired by the work of Hanne Darboven.

Unfinished Business

Matters of making sense.

There is a sculpture in the center of our circle. We look, and when the speaking begins, it becomes clear that while we have been looking toward the same object in space, we have not seen the same sculpture.

It has often been assumed that when the eye sees, the spirit will know, but knowing is a palette, not a product.

One of us had a question. When working, how much of a given environment do you censor to meet what demands? He saw no difference between painting and sculpture, the idea being that any picture is a living thing, sculpted by changes imposed from outside, and never done.


Inspired by American sculptor David Smith. The italicized question above is his.