The InexpressIble is not meaningless. On the contrary, it overflows with significance
impossible to contain. The InexpressIble holds in abeyance final judgment on the tension
coiled within it. The InexpressIble dances beyond the reach of words while seeming
tangible in a caress or kiss. The InexpressIble would rather wander with the damned
than lie among the dead. The InexpressIble is not remote from our being-in-the-
world. In moments of extreme lucidity, the inexpressible appears as through a glass darkly,
uncountable dimensions beyond comprehension. The InexpressIble is not a digression
from the main activities of existence. The InexpressIble is not an apology for our
ignorance. The InexpressIble is not mute, far from it! Art would give it a voice.
The InexpressIble may be the quicksilver of happiness spilling from the fountain of youth.
The InexpressIble does not make a grand entrance, preferring to slip in unannounced
and unnoticed. The InexpressIble may on occasion fill the world with the light of reason.
Large abstract shapes with sound. Chanting performance.
Photographic documentation of traveling landscape symbols.
No form an artist might use is equal to the unbounded void where the phantoms of memory arise. To represent the absolute in a manner that does not instantly betray its transcendental meaning is the challenge that motivates Dalibor Polivka. The beauty and depth of the historic cultural traditions of his native Slovakia inform a restless pursuit of the underpinnings of perception, across contemporary disciplines, in painting, sculpture, installation, performance, digital imaging and graphic design.
Rob Mintz’s writings are influenced by the history of the avant-garde in all its manifestations.
Evolving spontaneously and organically with a series of decisions that embellish or obliterate each line, they exude subjectivity, authenticity, anxiety, and the drift of autonomous introspection, the philosopher’s first step.
Installation of prints from series of “Tirages Argentiques.” Glass, paper, vulcan.
The “fold” (le pli) is the structure at the center of Guillemette Buffault’s research, taking form
in paper, cloth, metal, sheets of lead, woven polyester, graphite, bronze, and glass, depicted in prints, or captured in photographs. The fold is both an object and a means of investigation. In her hands it becomes paradoxical, material and immaterial simultaneously. The fold is a connective discontinuity. When multiplied, its implications become metaphysical. Like apparitions, Buffault’s art oscillates between the opaque and the transparent.
Large scale calligraphy on gallery wall, approximately 20 feet by 10 feet.
Inspired by the Vietnamese calligraphic tradition, Chau Thuy’s popular and widely-exhibited
work incorporates stylized figurative elements to symbolically express personal, political and