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Split Infinitives
2008-2018

In these ‘naturally occurring’ diptychs, structure confronts expanse not to cleave reality but to heal it. The odd choice of center positions the viewer to process duality as it emerges unnecessarily in an unexpected context, a fragment of urban landscape. Reconsider opposition as balance. If we only ask why we are compelled to the symmetry of contradiction, then we will eventually know unity. The innocuous, inconsequential aesthetic moment, is alternatively a profound solution to our limited understanding of Self.

What do you think?

Split 3-79-78
2010, archival pigment print, ed.9, 60 in. x 96 in.
Split 2-62-63
2018, archival pigment print, ed.9, 60 in. x 90 in.
Split J-44D-P
2013, archival pigment print, ed.9, 60 in. x 74 in.
Split F-V-C
2011, archival pigment print, ed.9, 60 in. x 84 in.
Split L-34-33
2013, archival pigment print, ed.9, 60 in. x 79 in.
Split H-C-C
2010, archival pigment print, ed.9, 60 in. x 108 in.
Split 3-63-64
2016, archival pigment print, ed.9, 60 in. x 108 in.
Split 21-37-38
2018, archival pigment print, ed.9, 60 in. x 76 in.
Split 38-2-3
2013, archival pigment print, ed.9, 60 in. x 84 in.
Split 44A-10-11
2012, archival pigment print, ed.9, 60 in. x 108 in.
Split L-60-61
2014, archival pigment print, ed.9, 60 in. x 84 in.
Split 42-1-F
2010, archival pigment print, ed.9, 60 in. x 96 in.
Split C-44R-43R
2010, archival pigment print, ed.9, 60 in. x 84 in.
Installation image from "Parking on Pavement"Jack Shainman Gallery, The School, 2018
Installation image from "Parking on Pavement"Jack Shainman Gallery, The School, 2018