Basins
Like shallow vessels and geology. The word 鈥渂asins鈥�. Intimacy and gravity. Formation as a contour, a prolonged recess. Mutuality in place. Galisteo to San Juan and beyond.
Readymade abstraction: unembeds and estranges the object from its received context, rather than purifying it of inessential qualities. By displacing form, such work reconvenes those accidents in allegories of purposiveness and practice, material fulfillment and failure, lastingness and brevity.
Extra curator: having recently been directed to occupy the role of 鈥渢he鈥� artist on a film set, in a local gallery staged with familiar work from a series of sculptures by a friend. In a scene that ends with the work sent crashing to the floor by the rascal child, the artist (that鈥檚 me in the poncho) stares in horror, the child鈥檚 adoptive parents (two notorious comic actors, also costumed) for once silenced by the impertinence. Was the transition from my own dismay at the cringing ironies of the situation to the character鈥檚 shock a seamless one? As if the entire experience does not introduce a shifty uncertainty into those selfattributions. Thus having once 鈥減layed鈥� the author of the work, do I now perform the equally fictive role of curator, for an exhibition that contains work by the same artist?
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Like shallow vessels and geology. The word 鈥渂asins鈥�. Intimacy and gravity. Formation as a contour, a prolonged recess. Mutuality in place. Galisteo to San Juan and beyond.
Readymade abstraction: unembeds and estranges the object from its received context, rather than purifying it of inessential qualities. By displacing form, such work reconvenes those accidents in allegories of purposiveness and practice, material fulfillment and failure, lastingness and brevity.
Extra curator: having recently been directed to occupy the role of 鈥渢he鈥� artist on a film set, in a local gallery staged with familiar work from a series of sculptures by a friend. In a scene that ends with the work sent crashing to the floor by the rascal child, the artist (that鈥檚 me in the poncho) stares in horror, the child鈥檚 adoptive parents (two notorious comic actors, also costumed) for once silenced by the impertinence. Was the transition from my own dismay at the cringing ironies of the situation to the character鈥檚 shock a seamless one? As if the entire experience does not introduce a shifty uncertainty into those selfattributions. Thus having once 鈥減layed鈥� the author of the work, do I now perform the equally fictive role of curator, for an exhibition that contains work by the same artist?
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