Higher Ground Archival Print /5+2AP
“The works present a complex series of inscriptions, that of mark, performative or ritualised expenditure, mapping, temporal registers and the eruptive potentiality laying await in the form of invisibilities. This is neither a labyrinth, nor a network, but rather an offering of a content as “a glimpse of something” in the words of Willem de Kooning. If content is but a glimpse of something, then what is it that is glimpsed? Inscriptions, folds, maps of elsewhere, subjectification, encounters, meditations, the list could be stretched out by such serialised abstractions. What we might instead start with is material crumbling in the hand, or a lump of clay looking back at the other as if to invite a response, the primal division of form and formlessness, or a process which stages de-cen-tredness.” Jonathan Miles
“The works present a complex series of inscriptions, that of mark, performative or ritualised expenditure, mapping, temporal registers and the eruptive potentiality laying await in the form of invisibilities. This is neither a labyrinth, nor a network, but rather an offering of a content as “a glimpse of something” in the words of Willem de Kooning. If content is but a glimpse of something, then what is it that is glimpsed? Inscriptions, folds, maps of elsewhere, subjectification, encounters, meditations, the list could be stretched out by such serialised abstractions. What we might instead start with is material crumbling in the hand, or a lump of clay looking back at the other as if to invite a response, the primal division of form and formlessness, or a process which stages de-cen-tredness.” Jonathan Miles
