I have conceived a work that transfigures all known precepts of the collective consciousness. An ebony sculpture evolving within creation that by its elusive approach sculpts time. A mystical parable attempting to forge a link invisible to the eyes of common man. It is this empirical approach that allows to reach this absolute nourished by a discreet but intense contemplation. The idea is in the form, the form is the idea. Not to see a deep disagreement between content and form would be to confuse impulse and inspiration. Sculpture as an extension of the living beyond any beginning but deeply inscribed in our veins. The blows of the chisel hammers, the tired steel squeaking with pain between the excited hands, this is in fact the result of the effort. Translated with www.DeepL.com/Translator (free version)

Result #1

I have conceived a work that transfigures all known precepts of the collective consciousness. An ebony sculpture evolving within creation that by its elusive approach sculpts time. A mystical parable attempting to forge a link invisible to the eyes of common man. It is this empirical approach that allows to reach this absolute nourished by a discreet but intense contemplation. The idea is in the form, the form is the idea. Not to see a deep disagreement between content and form would be to confuse impulse and inspiration. Sculpture as an extension of the living beyond any beginning but deeply inscribed in our veins. The blows of the chisel hammers, the tired steel squeaking with pain between the excited hands, this is in fact the result of the effort. Translated with www.DeepL.com/Translator (free version) by Daniele Sosa. Copyright © 2006, Daniele Sosa. When the artist chooses to use a title as a title, he is setting up a condition that he can not escape. The title of his recent show is Il fatto delle stanza (The poem of the statue). The title, in fact, alludes to the fact that the title of the show is, in fact, The poem of the statue, by Bruno Bettelheim (1896–1953). Bettelheim was the best known of the early-twentieth-century Italian avant-garde poets, and the title of a poem he composed in 1888. It is a poem of the statue, in fact, and it is also a poem of the statue, but one that takes place in a place of no permanent place. The poem is an incantation. It is a call to the gods, the gods of poetry, to whom the name is, as in the name of the fountain, and the poem is a prayer. It is a call to the gods, and to the gods of poetry, to whom the name is, as in the name of the fountain, and the poem is a prayer. But the poem, the prayer, is not what it seems. It is a meditation on the end of poetry, and on the impossibility of poetry, but it is not poetry that is to be found in the end. The end is that of the image, of the image. It is the end of the image. The image, the image of the image, is the end of poetry.Bettelheims poem is a meditation on the images that are found in the end of the world. The images are of the self, the self that is without beginning or end, the self that is in the end, the self that is present in all things and everywhere. They are images that are found in the very heart of being.

Result #2

by Marguerite Shore.

Result #3

I have conceived a work that transfigures all known precepts of the collective consciousness. An ebony sculpture evolving within creation that by its elusive approach sculpts time. A mystical parable attempting to forge a link invisible to the eyes of common man. It is this empirical approach that allows to reach this absolute nourished by a discreet but intense contemplation. The idea is in the form, the form is the idea. Not to see a deep disagreement between content and form would be to confuse impulse and inspiration. Sculpture as an extension of the living beyond any beginning but deeply inscribed in our veins. The blows of the chisel hammers, the tired steel squeaking with pain between the excited hands, this is in fact the result of the effort. Translated with www.DeepL.com/Translator (free version) <|startoftext|>In his work, Peter Fischli takes a stand against the artist as the artist. His is a lineal drawing that turns the artist into the artist. Fischli is also an artist who creates a lineal field that has no beginning, middle, or end, and can be experienced as an endless space. In this sense, the work of this artist is an active and creative process, and not one based on an objective. He is concerned with the memory of an earlier time, with an activity that is the memory of an earlier time. The beginning of the work is a line drawing, but it is always the beginning of a new line. The work is always a line drawing that is a line, that is, a line that is the beginning of a line. It is the line of a line, and the line is the line. The line, as a form, is the line. The line is the line. The line is a form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form. The form is the form.

Result #4

I have conceived a work that transfigures all known precepts of the collective consciousness. An ebony sculpture evolving within creation that by its elusive approach sculpts time. A mystical parable attempting to forge a link invisible to the eyes of common man. It is this empirical approach that allows to reach this absolute nourished by a discreet but intense contemplation. The idea is in the form, the form is the idea. Not to see a deep disagreement between content and form would be to confuse impulse and inspiration. Sculpture as an extension of the living beyond any beginning but deeply inscribed in our veins. The blows of the chisel hammers, the tired steel squeaking with pain between the excited hands, this is in fact the result of the effort. Translated with www.DeepL.com/Translator (free version) by Sarah Morris. Copyright © 2006 by the Estate of Nancy Graves. All Rights Reserved.This exhibition of the artists work was curated by Andy Williams and Kim Kelly. The show was a retrospective of the artists body of work, which, at the time of its making, was simply one of the most interesting and fascinating aspects of the late twentieth century. As we have seen, the body has, in the course of its evolution from the prehistoric to the modern, undergone many changes, and as a result, its features and functions have changed as well. The physical changes that characterize the human body are, in fact, quite distinct from those that characterize the changes that characterize the brain and the muscles of the body. In the case of the artists body, these changes are usually subtle and not easily discernible, but nonetheless there are certain basic elements that emerge, and these elements are often embodied in the work of art. It is not simply a matter of dislocating a part of the body, but of dislocating a part of the body as a whole, and of that dislocating. In this sense, the body is a construct, a simulacrum of the body, a kind of simulacrum of the body itself. It is this ambiguity that underlies the works of the artists, and is the crux of the matter.

Result #5

by Armin Newby. Translated from the German by Harald Szeemann.

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