Paintings und was sie von sich halten

Shed Sensitivity Here there is Still Lifes V (b/w), for example, a black and white copy of a painting from 2019. The original is part of a series of hand sorted flowers in Chinese vases. Roman numeral V because it was the centerfold of the series. A muffled pinnacle that plays with clutching center lines, absorbing symmetries and mirrorings, all going down from then on. Painting as a backhanded reflection. An unstretched canvas is now stapled to a slightly bigger frame, so that we can see the stained sides as part of the front. Very nice. A Next Life granted with everything but tension. Like the flappy strip frames made from fake purple snake velours mostly chosen for their pattern’s hand-drawn quality and only later realized to be blurring the point of venomous allusion. Three of these paintings here are b/w reproductions. Some paintings have nothing but my version of that hand-painted pattern of a snake’s skin. I can meet the fringes of another feeling being through the joint experience of one painting. I might meet another of myself through a prolonged, extended stay. Sometimes I wonder if I understand the significance of them before it's too late and they’ve slipped or I ve been staring at shed skin, an exuvia, unknowingly. And sometimes I’d like to be able to restore this previous form, put it back on. …But now it's more like a sock or a leather mask. Leatherface. They do things to one another when they do things to us. They can work together. These paintings are incapable of love. They are strangers to the desires we show them. Humoring us, their duplicitous nature seems inevitable to me. While no more or less mysterious than the color of the walls that hold them, they are still protagonists of multiple role-playing and self-invention - What greater power is there than the power to enter and to program the dream life of culture?