HISTÓRIA VISUAL


THE DEVELOPMENT OF
Space Between Points
A REVERSE CHRONOLOGY 



Study for St Celfer's 'The Space Between Points'
(organism, extra dimension), 2018
sumi-e ink and acrylic paint on paper
76cm x 56cm


untitled
(in St Celfer's blue book), 2016
magic marker and pen on paper
25cm x 25cm


untitled, 2015
magic marker and pen on paper
7cm x 12cm


Heart Shaped Box, 2014
resizeable digital photograph


Corner #2, 2013
resizeable digital photograph



eyekhan's second remix
of Tom Moody's Surge Canary drawing, 2008
resizeable digital GIF


DiGel, 2006
DiGel packaging, tape
20cm x 25cm


Holebag
(at Abstraction Obstruction, Soil Gallery), 2005
plastic bag and felt pads
30cm x 30cm


The Want to Slip, 2002
bathtub stickers
35cm x 35cm


Star Map, 2001
rotatable plexiglass disks and felt pads
25cm x 25cm

Toronto's Harbourfront Centre
'Mods and Rockers'


Inner Circle, 2001
plexiglass and wire
200cm x 50cm


Grate, 2001
stickers
150cm x 200cm


Drawing (detail), 2000
mirrors and zip ties


Light My Fire, 1999
wooden frame and matches
25cm x 25cm


Magic Making Ugly, 1999
ink graffiti on studio wall
100cm x 100cm


Targets in a Rock, 1998
oil on canvas
35cm x 60cm


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I only realized the connections after:
visiting Malevich, черный квадрат, in Russia 
-- it's not black and it's not square --

meeting Lygia in Brasil. 
This Neoconcretismo connects
math to human 
while investigating
our normal labeled delusions. 
(I'm retracing her life 'caminhando'.)

And destructing language on the way.

I fight the tyranny of the square 
and the desire to put things into boxes (and buckets).
I want to see Wittgenstein's elephant
while many see themselves in everything.

A frame makes anything look good.