And at what resolution might one pass from the volumes of affect distributed by the cascade of this enclosure, toward the telescoping operation that so effortlessly bridges the macro and the micro under a calculus of presentation...Read More
Phenomena. Discourse. Bricolage.
I've released a musical project entitled Pirate d'amour which bares sinister resemblance — by way of spirited metaphor and concentrated abstraction — to the Symbolism just beneath the Orientalist gloss of F. A. Bridgman's Le pirate d'amour (1889) triptych.Read More
Environs are old, temporal stock anchoring their reception in our being like ancestors. Distant, vague, felt. Kuma’s architecture, or lack thereof, is gestural in this regard, formalized by an aesthetic toward reunion, mimicry, and dissolution in order to render live a new being out of the asymmetrical encounter between visitor and environment...Read More
The seemingly unpretentious regurgitation of mere facts and figures, employing type indicating data and data alone (attractive or not, design as transparent as its container or not, dross or not) is unmediated neutrality that beguiles and sells for an artist of Aphex Twin's well curated caliber...Read More
Villa Rotonda. Palladio in the country again. Let's say 1566¹. Obdurate expression of figural object situated in Arcadia, un-adumbrated. Vicenza. Figural clarity ascribed, reinforced by site where it individuates. That immediacy, resting on a low hilltop...Read More
Degradation on tape looped into shades of loss (subtractive) voids not too dissimilar from the Bolero in Ravel (additive). Man interprets machine and all things death against the drone rising. Listen for it...Read More
But still more curious was a home's interior and the metonymic resonance of the Victorian 'parlor' as tenor for 'old creepy house', 'the dead', or even 'psychological interiority'. Tellingly, the basic Victorian parlor functioned like the inside of some senescent Matriarch's (or Patriarch's) head...Read More