'Wer Nicht Denken Will Fliegt Raus'

Sincere thanks to Der Greif Magazine and particularly Diana Poole for including 'Prussian Blue' in this 'Guest Room' exhibition.

The subject unmakes himself ...

“Text means Tissue; but whereas hitherto we have always taken this tissue as a product, a ready-made veil, behind which lies, more or less hidden, meaning (truth), we are now emphasizing, in the tissue, the generative idea that the text is made, is worked out in a perpetual interweaving; lost in this tissue—this texture—the subject unmakes himself, like a spider dissolving in the constructive secretions of its web.” —The Pleasure of the Text, Roland Barthes

Bleak House

I am so privileged and happy to be part of 'Bleak House' -- a series of magazines and downloadable pdfs -- curated by Brad Feuerhelm and to be published by VOID publishers in Athens. To be working with the best, alongside the best ... it's all one can ask for.

Covid project. Notes

This project started as about wildflowers ... became about particle physics ... realised now they are simply different diagrams for the same feeling.

my boy in his mother's hair

new work from Hair in the Projector

that day my whole world was in the sea

35mm. Glass. Hair.  (Baby floating in mother floating) Something from new project ...

hair in the projector

In this time of lockdown I'm thinking about this theory about Ozu's characters. Indoors, they define each other while it is only when outdoors, contrasted against vast mountains and skies, they see their true (insignificant) place in the cosmos ...  More about this here

her hair where the moon used to be

New Work (with Brad Feuerhelm and Void publishers, Athens) ... 'And one is left with a feeling of sadness, too. It is not because Ozu's films are honest about life, and about death as well; it is because these people, these moments are gone. ... this universal feeling of the transience, of the mutability and beauty of all life ...' NYT 26.09.82.

late spring, early summer

New work. ... our lives steeped in a sort of universal but unnameable emptiness; feelings so complex that it’s often only in the visual, the 'pillow shots' of objects, landscapes, and nature, that we understand them. A vase, cherry blossoms, the wind, the waves ... The material beauty of nature always reminding us of the quick death of beautiful flowers or, as Deleuze calls it, the ‘natural forgetting’ of life. The presence of a murderous virus floating through the cherry blossoms (and my own longings and regrets in the face of it) has also informed this series.

Late Spring, Early Summer

New work begins here.  3300 slides. 3300 lines of dialogue.