This is very fashion, it could be a fashion sketch, I wanted to dress like this, aesthetically non-linear drops, multiple personalities

Result #1

This is very fashion, it could be a fashion sketch, I wanted to dress like this, aesthetically non-linear drops, multiple personalities, nobody knows who or what, nobody goes and does the favors. Such a structure is appropriate to the artists obsessive involvement with a sexuality that borders on a fear of being associated with masculinity. But a look at the show suggests that the term masculine-female pair of persons with whom he is the target of both non-conformity and self-involvement in order to preserve or adapt to them. One can therefore see such frenzied metaphor as an extended exhibition which, like the others, could not be taken apart completely. The rhythm of the installations cycle of existence is provided by its details. The original predecessors, who, by the age of twenty, were already burdened by the general context of male identity, are not so much victims of their own obsession as they are the result of one, but their manifest inability to take a step away from male-dominated structures. Thus, between the masculine-male twin in Ramona and the feminine-female twin in Eva, the body becomes a sign for the need to prove oneself as the most complete of ones self-identities, while the other can only be the visible unfulfilled fantasy of the individual striving to attain the semblance of a self without any need for self-promotion, any kind of narrow-mindedness, which is, like other types of fantasy, incompatible with the thrust of self-reflexivity. Hence, as in most situations, an active, artistic self-containment takes place. In the case of the male figure, this comes from a particular self-portraiture which is masculinized through the attempt to become an act of expression of masculine identity. But that is only a mask, a nostalgic self-portrait, and this is the side of expressionism that the artist has chosen: to express the very differences that define masculine and feminine identity, to point to their inconsistencies.

Result #2

This is very fashion, it could be a fashion sketch, I wanted to dress like this, aesthetically non-linear drops, multiple personalities, like with my own version of the surrealists; music, special effects, bit-comedy, surrealism, fetish, a Rube Goldberg fantasy, but not an avant-garde statement, because it had not been done before. But the strangeness of the sketch is much greater than the results, and the power of the work is not negated by the disclosure of the form.In the end the show consists of those in which the subject matter is not sexual, but rather technical, almost giddy cartoonists drawn from the literature of the everyday world. The illustrations, the pornography, the surrealism and the drawing are all absorbed into the overall work. By the same token, these is not traditional illustration. There are no drawings of clothes, no images of artists. Instead of the shy spectatorship of the average veneer, there is a time machine and a talk show, or a masturbatory picture-window, where we are encouraged to sit, look, and be spectators. The whole art world of course is here, but the world that is represented is the one we are the normal human beings—arts institutions and its audience are the faceless apparatuses of a deranged society.Those with the memory of a lot of the work from the 70s and 80s will be pleased to learn that the medium is the television set. Still, those who have only seen the pictures will be happy to learn that they are not the normal human images. In fact, they are drawings made for television. They are a totally new medium. The images are in a primitive manner, traced from ordinary data to a specific place, time, and another image which is itself another image of a different place, time, and another image, a mathematical pattern.

Result #3

. Of course this is not style. However, the presentation of this series has tremendous potential. In its geometry, in its space, it could become, without an essential individualism, a model for an autonomous, socially engaged, non-mechanistic world.

Result #4

This is very fashion, it could be a fashion sketch, I wanted to dress like this, aesthetically non-linear drops, multiple personalities, avant-garde.I did a lot of conceptual painting in my youth. Like a lot of abstraction, it was co-optative, I was able to use the language of an abstract painting, to expose its spatial, material, and formal properties. A lot of work was nonvisual, conceptual without any physical content. In this respect, there were two pieces that were exceptional in this regard: one was a very large canvas with a gridded floor, and the other was a small, monochrome, silk screen with a thin grid and about three or four feet of glittering silver silk. The piece was being hung on a wooden frame with a clear frame and chair, it was covered with fabric, it was quite an act. The pieces seemed like two separate pieces, linked by a substance that, like the idea of abstract painting, was complicated, even contradictory, as a visual or conceptual act. The frame was concrete, the fabric transparent, the glittering silver was a material substance, but also an idea—a metaphor, a material, a concept, something that one could walk on. The whole thing was a very elaborate, odd sense of the medium. The pieces consisted of the grids of silver silk and the grids of silver silk, and they had the same effect of dislocation and dissolution, of fractal-complexity, and they had a tone of the ambiguous, or more accurately, of illusory, of invisibility and invisibility. They were the obvious objects of the act, the images that were being suggested. The grids were the actual, finished grids of the grid, and they were covered in silver silk, which was transparent. The thing about the grid is that it is a planar thing, it was a gridded surface, and it became an object in its own right, a medium, a fabric.

Result #5

This is very fashion, it could be a fashion sketch, I wanted to dress like this, aesthetically non-linear drops, multiple personalities, changing the details, you see this and this, I do this, here and there, but always where it does, theres a break between them, theres a pause, and a breath, and then theres a pause, and youre not sure whats going on anymore, and youre like, hey, whats happening? I see a line, and Im sure you do too, and its like, yeah, lets see where it ends. It doesnt make any sense. The line is there to be changed, to be metamorphosed, but maybe we should just have it? Anyway, whatever happens, thats always something else happening.Prunella: Ill see you in the next room, i will take your photos.Pamela: Yeah, thats pretty much the case, Ive got to get to the point where I can stand behind you and take your picture.Pamela: Well, you could always meet up with me.Pamela: I wont do that. What would be interesting is to get closer to you.Pamela: Well, Ive already got a few. To each of you I say, I want you to remember what I say to you.Pamela: (laughing) Well, Im still changing things around. Im still going to these conventions of conversation, of taking notes. Ive got two new comic books, and a song, and a couple of the artists in the show have been invited to join me for the opening at the gallery. Ive been asking around the neighborhood and theyve been like, its a big event, but theyve been told it cant be shown. Its just too big to be in a gallery. Ive had conversations with the gallerys manager, who knows about this event and said, well, we cant possibly have everything we want, weve got to figure out how to handle it.