September 10, 2015 23:56
I m caught by your work. Don’t get cocky and stop reading; I haven’t been snooping around for long. I actually met you (if I can say so) in Colombia three years ago. I saw your exhibition douleur exquise in Bogotá. I’m not sure if seen is the right verb, I suffered it. How could you? I never though I could experiment grief ever (I m way beyond insensitive), even less that I could own somebody else’s angoisse.
Maybe the fact that you used your writing, your photographs and your art/mise en scene, made it so soul stirring. I m not sure, it does not sound enough. The repeated boards really created the sensation of time, and made it very Oulipo style (personal stamp yeah..). You definitely nailed it with the progressively fading away thread. If ever somebody would ask me what does it feel to agonizingly forget I will know what to say.
I am not particularly a big fan, of your art in terms of aesthetics but the mixture of your photographs and writing, the moment I start reading, bang I m gone. That s probably what Auster talks about in Leviatan.. That ambiguity of what you do and the difficulty of classifying as and photographer/writer/ is kind of thrilling too.
I won’t flatter your work all night long, there is still a lot to be read for somebody who is very, very, new at this art-thing. Just letting you know that the fact you could transmit “Mallarme’s angoisse” in an exhibition was for me not only inspiring but also hopeful. It encouraged me to find the way to transmit what s going on up there.
I took the rest of the day off that day, I couldn’t t keep visiting. It sucked the tears out of me (not a big deal, art is the only thing that has made me cry so far). If I ever reach that level of power and openness in an exhibition I will not only write back, but will also owe it to your inspiration. Partially.