Suspension, or "Yeah, yeah, I'll be there in a minute"
Annette DiMeo Carlozzi
I have a son whos kind of dreamy. Like his mother, he procrastinates when he has to write. We sit back-to-back in our shared office, heads staring at two screens, fingers resting near two keyboardsstalling. His history paper is due tomorrow. This introduction is due today. Our minds are,
I daresay, equally adrift.
After initial panicky (and futile) entreaties to the poor kid to get going, manage his time better, start focusing now, Ive come to realize that well both complete our tasks by their deadlines. Resigned to our pathologies, I think of afternoons like this as transition timethe lull before we merge into a quick streaming creative thinking lane. No measured discipline for us, no; its flat-out desperado intensity when our fingers start to fly, and nothing else existsnot telephone calls, not hungerwhen the brain is screaming with word-delight and the blank page is obliterated with cogent thoughtswe are out of time, in both senses of the phrase.
On-task at last, the quite pleasant charge here was to select images of works by several of the artists featured in this issues interviews and reviewsto find the intuited connections, common visual threads, shared ideas that would make some kind of sequential sense on the printed page. Pinning down images with words is dicey at best, even more so in this manufactured context. So I do so with no authority, just a fair degree of wonder at our human compulsion to craft meaning from disparate bits of information. Herewith are some notes on what I saw when I looked; as is surely obvious, Im thinking about time
rushing, distracted, harried, hurried, oblivious, cant be late,
heart beating, speed up, slow down, catch an eye, wonder, muse, a constant flow of random passersby,
over the bridge, one side to the next; his frame particularizes everyday motion, footfalls mark the passage of time.
a Magrittean space of dreams and anticipation,
windows framing ethereal possibilities,
a person would feel altogether too precious to sit in that room.
The mundane and the surreal: flowing, frozen.
thoughts and emotions suspended.
Chlorinated H2O steadily caressing a blank face
that alertness near the ears and yet, hearing is dulled,
the body conscious of itself, separate from its usual gravity-bound whirl of activity,
a moment without beginning or end;
quick dunk get it over,
one-two-threeit starts, it ends;
all time evoked, all consciousness summoned;
the time, the space, the performance of ironic distance is charted forever in a photograph.
The body in water: physics and faith.
alchemical apparitions, a long trudge, long past, what
legacy remains; gain and loss.
common materials ennobled by transformation;
whose legacy celebrated, each stands in for all.
Transported, not visible: the fusion of the body to history (with thanks to Glenn).
the art of seeing nothing at all and being entranced by it, the way
that remarking upon a lost detail can open up all sorts of possibilities.
variation in repetition,
how concentration transports to another realm of awareness,
how system is present when least expected.
The search for form: its capacity for nuance and elaboration.
out, over, everything you had you gave;
no after, just nowbody and brain collapse;
time is up
dreams are just memories.
through the looking glass:
allusions transcend particulars,
when and where collapseand yet theyre just this close,
brain and senses searching;
time is irrelevant,
memories are just dreams.
Displacementsometimes involuntary, sometimes desired.
Nic Nicosia, SaFe House #2, 2004
Archival inkjet on Somerset watercolor paper
31 x 48 inches
Bill Lundberg, Passage, 2004
Installation view, CRL, Austin, TX
Courtesy the artist
Hills Snyder, Dunk, 2001
A collaborative installation/performance, Hills Snyder and Reverend Ethan Acres
Primera Iglesia Buatista Mexicana, Art In The Hood, San Antonio
Dario Robleto, A Defeated Soldier Wishes To Walk His Daughter Down The Wedding Aisle, 2004
Cast of a hand-carved wooden and iron leg that a wounded Civil War soldier constructed for himself made from The Shirelles Soldier Boy (melted vinyl record) and femur bone dust; fitted inside a pair of WWI military cavalry boots made from Skeeter Davis The End Of The World (melted vinyl record); oil can filled with homemade tincture (gun oil, rose oil, bacteria cultured from the grooves of Negro prison songs and prison choir records, worm wood, golden rod, aloe juice, resurrection plant, Apothecarys Rose and bugleweed); brass, rust, dirt from various battlefields, ballistic gelatin, white rose petals, white rice
80 x 21 x 20 inches
Annette Lawrence, 1998 Installation, African American Museum, Dallas
Joe Havel, Minneapolis Airport, printed 2000
21 x 19 inches
Courtesy the artist
Linda Ridgway, Yarrow, 2001
Unique photographic print
30 x 30 inches
Courtesy Dunn and Brown Contemporary
Andra Caillouet, Installation at Sala Diaz, 2004
Inkjet and duratrans prints, found frames, light fixtures, door knobs, paint, polyurethane, sound
Vincent Valdez, Stations V: He Then Fell Once More, 2002
Charcol on paper
60 X 42 inches
Collection of Bill Colburn, Houston, TX