INTRO
Often the work presented here depicts two people separated within a dark space. One is isolated and suffering, the other is trying to reach him. The trouble is that maybe they aren’t both there simultaneously. Time and reality are divided in these depictions because we have entered the eerie world of memory where truth fades, loops, mutates—personal memory, historical memory, and even a magical dimension of memory which allows for someone lost in the psychic night to be found and consoled. How could such a meeting happen? The rainbow gives a dreamlike answer at the end of the sequence.
LONDON
APRIL 2026
the guards
TAPE 2026*
[TRANSCRIPT]—a gloomy, narrow path heading away from the mass of the living who require that veils be draped over illness as a revelation of a lonely, heartbroken part of life such that its inclusion brings in fact a fullness. So there’s the paradox of exclusion involving some kind of fullness.
And I keep thinking of a certain view of childhood and innocence, which is among other things an openness to every aspect of life, that precedes and doesn’t yet encompass these passions of the will and machinations of the society ruled or animated by lusts for control and emotional obligations/regulations. So whether or not this or that child or any child perceives the difference between their world and this other world, still the possibility exists of this innocent comprehension which is (to go back to the paradox) what in fact makes full the world and life which is otherwise defined by this law of violence.
*What I call tapes are first of all improvised/unrehearsed monologues. I sit with as clear a mind as possible (perhaps I can’t help having an initial phrase or vague theme) and record myself speaking for about twenty minutes. It feels like an exercise in concentration rather than relaxation, tightrope-walking more than going with the flow. It doesn’t feel free. There are long pauses, which I usually edit out afterwards.
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