HISTÓRIA VISUAL
THE DEVELOPMENT OF
Space Between Points
A REVERSE CHRONOLOGY
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| Study for St Celfer's 'The Space Between Points' (organism, extra dimension), 2018 sumi-e ink and acrylic paint on paper 76cm x 56cm |
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| untitled (in St Celfer's blue book), 2016 magic marker and pen on paper 25cm x 25cm |
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| untitled, 2015 magic marker and pen on paper 7cm x 12cm |
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| Heart Shaped Box, 2014 resizeable digital photograph |
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| Corner #2, 2013 resizeable digital photograph |
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| eyekhan's second remix of Tom Moody's Surge Canary drawing, 2008 resizeable digital GIF |
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| DiGel, 2006 DiGel packaging, tape 20cm x 25cm |
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| Holebag (at Abstraction Obstruction, Soil Gallery), 2005 plastic bag and felt pads 30cm x 30cm |
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| The Want to Slip, 2002 bathtub stickers 35cm x 35cm |
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| Star Map, 2001 rotatable plexiglass disks and felt pads 25cm x 25cm |
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| Grate, 2001 stickers 150cm x 200cm |
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| Drawing (detail), 2000 mirrors and zip ties |
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| Light My Fire, 1999 wooden frame and matches 25cm x 25cm |
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| Magic Making Ugly, 1999 ink graffiti on studio wall 100cm x 100cm |
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| Targets in a Rock, 1998 oil on canvas 35cm x 60cm |
I only realized the connections after:
visiting Malevich, черный квадрат, in Russia
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
math to human
while investigating
our normal labeled delusions.
(I'm retracing her life 'caminhando'.)
And destructing language on the way.
And destructing language on the way.
I fight the tyranny of the square
and the desire to put things into boxes.
I want to see Wittgenstein's elephant
while many see themselves in everything.
A frame makes anything look good.