UC San Diego

While explaining the trajectory of a work of art generally takes away from the viewers experience, some verbal accompaniment is expected. The meaning of the work and intentions of the artist must be translated into the viewer’s first processing language, which would (given this) appear to be language [~]. Whether or not these things are so [ ], I make no attempts at disciplining myself away from performing what might be a (sort of) idea ethnography. Could tracing the stages of one idea (from germination to reception) shed light on how we make sense of the world? How we orchestrate the narratives of our social lives? How we come to prefer/cling to/make copiously accessible a particular emotion?

The following is a fragmentary selection of texts taken from notebooks, papers, and press-releases. As the above may reveal certain obsessions, so might the below. And while these texts explore medium specific obsessions, I hope to make clear (however indirectly) that the fuel of this self-destructive burn is that of an obsession with somatic intensities of transformation.