The photograph taken
atmosphere the image is shot, like the photograph taken. A freeze frame reveals the vectors
of stopped movement leaving signs of the event, visceral mapping. Here and gone like choreography. Daguerreotypes blur and remove the physical being. Actually indexing movement where all left is memory.
In my monotype process, matter surfaces gradually gaining definition, swelling into momentary focus as if from the distance just becoming discernible then slipping back and away. Instead of the usual dancer’s movement from proscenium sides, my choreography has used one point perspective where the figures emerge directly toward the audience from formerly vacant space. The experience of bodies coming up into focus from a haze to then retreat into the same void space was the operative system of the ballet. And it was offered in repetition in order to augment that deciphering passage of suspension and disorder, when I’m not sure what I see. This second of pre-recognition becoming the subject itself, pulsated and bloomed. In the painting the moment of capture reveals what would be unseen of perhaps traces from movement of a body unknown.
A yellow air is of considerable high pressure. Like an azure sky so omnipresent and vacuous that it retreats and advances simultaneously. Any writing into this saturated air is buoyant. The art work acknowledges, “I am open”, like the insistent pressure of this air. The diptych is the book laid open. “Here, I am”: not closed, never completed. Script is kinetic, spanning the open, paired field, which is in part serial, not a mirror image. The painting asserts an acrid, saturated plane with self reflexive inflections, indexing like a footprint, or like drawing with sticks in the blank expanse of a beach.