gallery 2
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In a haste for reason, aesthetic assumptions are made over the need to centralize meaning around which the distances left behind would claim the contingencies of
Bildung as their property. Such distances locate (and take form) as subjectivized extents where, in Neruda’s verses, "the air would disclose beggars, lawyers, bandits, mailmen, seamstresses, and a little of each occupation" whose "humbled remnant wants to perform its own work within us." By their contingent nature, memorial remnants (surviving as performance) assume the nature of new-found works, endowed by a history that was never as expected. Art’s narratives are thence part-truths expressed as such, because only as such would they continue to behold their questioning nature.

John Baldacchino, Easels of Utopia. Art's Fact Returned. (pp. 107-108)