Merrily as outriders on the fame of interest, one forms the time of antiphonal art, to freed expressive images on the canvases on the free- standing lack of equitable, compensatory display.

The unquerulous temperament of the ever-varied balance and array of obscure fixed clarity. A brief walk concentrated into immobility of dissociated stillness that violate indifference.

Contrary work is invisibly deep. largely deferred, cast back like the shadows in the correspondence of contemporary apprehension. Motives here are meretriciously beautiful in the reminiscences accompanying appeal. Altering the arrangements within a compromised impression.

Suavely mixing the general and the particular, without softening the thrust of either. The relevance of the subject is demonstrated through a historically informed, perceptually acute, psychological empiricism of dissected charisma.

Theoretical activity is not sacrificed by one’s enviable ease of movement between graphic ideas, or by shifts in the level of discourse. A visual experimental essay, demonstrating fundamentals that disclose the artist as much as the subject.

A casual skepticism keeps the investigation animated and open. The searching process, caught up in a subtle condition. The challenge of uncertainty which captures the problematic creative sense of alternation between the eternal and the transitory.

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Cleaver: We don’t feel that there’s any black man or any white man in any prison in this country who could be compared in terms of criminality with Lyndon Johnson. No mass murderer in any penitentiary in America or in any other country comes close anywhere close to the thousands and thousands of deaths for which Johnson is responsible.

Playboy: Do you think that analogy is valid? after all, Johnson has been waging a war, however misguidedly, in the belief that his cause is just.

Cleaver: Many mass murderers feel exactly the same way about their crimes. But let me give you another example: Compare the thieves in our prisons with the big businessmen of this country, who are in control of a system that is depriving millions of people of a decent life. These people – the men who run the Government and the corporations – are much more dangerous than the guy who walks into a store with a pistol and robs somebody of a few dollars. The men in control are robbing the entire world of billions and billions of dollars.

Playboy: All the men in control?

Cleaver: That’s what I said; and they’re robbing people of life itself. When you talk about criminals, you have to recognize the vastly different degrees of criminality.

* Excerpt from Playboy interview with Eldridge Cleaver, December 1968

Apprehended by intuition, fortified by the extreme benignity and
sanctified understanding which manifests on social occasions.

One’s symbolizing instinct exists as differentiation from beasts, as the way history can be related to present and future as cultural epoxy. Everything perceived can be considered at the level of consciousness, and are intellectualized inputs having unconscious implications.

We’ve made everything a symbol, the network of correspondences is infinite, and feeds the illusion of a sentimental genesis within a private felicity.

A last brief disjointed reconstruction, precisely at the center of a public exhibition whose primary activity consists of aesthetic and utilitarian emphasis of cultural formations – art as a manifestation of timeless metaphysical truths.

Inimical to the renewal and appropriation by the imagination of the spectator on discontinuities or contradictions of visual discourse. Individual artistic gesture reduced to a signifier for creation.

the unresolved tension between two antithetical elements transferred the locus of meaning back onto the identities, of art as a preserve of spiritual values, characterized by a skepticism towards forms of irrational voice, while rediscovering long-buried cultural traditions - the reconstruction of bliss.

A deeply personal and ambivalent tension between the sustained relationship of knowing and seeing. The injected conventions of enlivening irregularities acute power, determines an arbitrary spectrum of subdued dynamism.

Automatism with chance migrates toward a freer, less encumbered pictorial language with fundamental allegiance to a referential figurative conviction of serviceable archetype. The graphic power of impacted social punctuation will evince far greater empathy for the individual, and reconcile interest between reflected curiosity and fear.

The allegorical intention suggests a muted ironical intensity, lush beyond constraint – while rendering the grandeur of the sterile eternity. The blatant catalog of ambiguous sexual testimony, recomposed with passion within the logic of the soul.

A natural spontaneous phenomenon whose meaning is hidden beneath its obvious sign. In contrast to the form, it represents more than is apparent. As a drawn precinct around the universality of the archetypal inheritance reflecting the common symbol.

Analysis of the space on which the person is divided, there are small figures visible near a habitat directionality far from the mid-axis of inhabiting anxiety.

Failure to integrate the figure is so unusual as to warrant special representation. Additional significance manifests the arbitrariness of deliberate originality.

An overarching visual totality turns on history to create an artificial paradise of immediacy, transparency and wholeness within a progressive synthesized practice. The assimilated withdrawal from contemporary conditions as the absolute sanctuary of reception.

A polemic of aesthetic autonomy to disentangle contemporary specificity from the social perversions and ambivalent philistinism.

Synonymous with the omission of historical alternative, proto-poetic depth surrounds the commodity of exalted indulgence. An emblem of quest to conceal the essential perception of reification as the reserve of myth and appropriation of impulse.

A petite bourgeois became a princess, calling for regeneration through violence – touting Nietzschean fetishism of the strong, who without pity or mysterious protocol would lead some integrated nightmare of destiny. Her tone and texture provide contingency to each individual element, creating the illusion of solids in space.

Sometimes she is strapped to machines, emerging from a heat haze charged with an air of Stravinsky with Freud under the bed. Fear and foreboding rush in where the kiss of welcome turns to that of parting lips, eating cake and watching a blue arachnid.

Forcing the spectator to move beyond specific components and consider the whole as the sum of discrete particulars, eclipsing composition and spatial interplay, an inquiring and acquisitive delight in her emotional form.