January 2012
1 post
The Lapdog and the Pussy
He thinks he’s being loved for himself, but actually he’s being loved for his usefulness. Imagining himself a star in the sky, actually he’s a vibrator in a crotch. He is not special, as he is being led to believe. On the contrary he could be any little dog that wriggled.[1] He’s there to pass on the excitement he thinks is all for him.
The niceties in the room, encapsulating this jest...
October 2011
1 post
The Skin and the Feminine
You probe and manipulate the world with your fingers. The world touches your whole skin and your whole skin touches it. You point with conviction by asserting a direction- with fingers. Forward is for you only what’s in front of you, where you point, what you do. The world points everywhere and nowhere. It enters in many places at once, everywhere that - bare feet and wrists and neck and ears…-...
February 2011
1 post
Red
The treat for the turtle is the same color as the turtle. Why is the woman proffering it looking away from the turtle? And what is the standing girl eating? And does the girl on the right sort of look like a turtle, even though it’s actually just that her hair’s wet and slicked back? But still, why is she looking at the turtle but the woman who’s feeding it is looking away? Kind of funny to...
January 2011
1 post
Canvases and human bodies have smooth skins, usually, roughness being a relative term in this regard. Most human flesh looks pretty un-smooth under a microscope, likewise the smoothest oil painting, but that’s not the impression either create. That is to say, it’s not how they work. Not how they work on you, the viewer, who desperately wants to take things in by being taken in. Both paintings...
December 2010
1 post
If one considers that introductions are usually...
What can be done with painting’s sexiness and decoration that’s not—but is instead more than—a critique of the sexy and the decorative? Moving in this direction does not necessarily place painting at home in the contemporary art world, a world much more concerned with art as signage to which one may respond, or not, consciously and to that extent by choice. This position is more as (and for that...