An etherstar is an etherstar is an etherstar.

Result #1

You could say, as the photo project shows, that the events are the product of a shadow-force, a psychic energy that is beyond all us human understanding. And yet the film itself is entirely dark and black and seemingly devoid of light, except through a camera that is fixed to the wall.In a quiet corner of the gallery, a man of thirty-nine, who resembles the artist himself (though not in the sense that we might identify with him) took a picture of the exhibition space. He has a black T-shirt with a white collar. His eyes are dark, but we see through it to a window, where a man apparently sleeps. He could be a viewer, a witness who studies the exhibition and is equally outside it. Is he both a voyeur and a witness? And is the T-shirt the red shirt of an erotic worker?The T-shirt is stained red with blood, and the window in the middle of the room is bloodred. The man seems to be tearing apart the space—making it his own. Is this the other mans violent fascination with the black T-shirt? Or the violence of his life? His hand is the bloody hand of a witness whose existence can only be denied by the act of memory. We cannot accept the existence of an artist, or of an artist in his life. We are not willing to believe him, and we cannot be convinced. By maintaining the exhibition, with a history, as if by allowing it to remain an autonomous object, he has taken it apart; and we have also given up the space for it.

Result #2

An etherstar is an etherstar is an etherstar. My work is a living work. Its insides are thin. Im sure they are. You can see the etherstar to my right and back. Its a Venn diagram. You get the idea. Its a little like comparing the quantum world to our finite universe. Hes a good guy. He doesnt make mistakes. Hes got a reputation for being polite.Its a more abstract idea than some more literal of paintings. Its a more schematic, diagrammatic, less painterly version of some other-than-my-self-embracing-the-camera-but-also-my-self-embracing-the-car or some such. Its not a long-lasting image. Its not a series of images. It doesnt spark the spark of a random cipher. Its a shortcoming of its own history. Its a little like the light picture. I dont know if it was invented in the 50s. Its not even close to being familiar to me. Its the only work I could find on the museum site at the end of the summer. I mean its an unremarkable image of a place, you know. If theres anything I see in front of the scene that does seem to be art, thats all right. Its not going anywhere. Its just gone. Its all gone. Then you have to go back to the exhibition for the rest of the stuff. Or maybe you do. Its all gone. With the show I didnt see all the photos. Some were on view for the duration of the show. Most were on view until the end. It looks like a slideshow. Its a sort of extension of the cameras implicit portrayal of one of his studio images. Its a kind of very subtle abstract composition, a standardization of the picture space, a construction of the image.Its a very polite kind of painting, but its not about some supposed positive purpose. Its about the inevitable. Its about what you expect a work of art to look like.

Result #3

An etherstar is an etherstar is an etherstar. In the case of the nine works on paper included in this show, ether stars have been entwined with geometric forms, as in a circle which is the cross of a cross; forms have been drawn with the edge of a circle. The majority of these works are series of ellipses which—in their imprecise rendering, but they are clear, and clearly distinguishable, from the hues of the lamps themselves. One picture is a mess of brushy streaks, a spackling of white paint on a dark paper backing, a surface which evokes nothing so much as the rough finish of a lamp tube.The colors in the works are all very light and a very perfect canvas, a perfectly balanced one at that. Indeed, the paintings and drawings are as sensuous as a breast—lighter than that. The picture plane is thin and about forty inches wide. The ellipse is symmetrical and oriented to the horizontal, though the ellipse is not horizontal. The colors are plain white and light green in large quantities. They are all in black and white. The ellipses are a good match for the whites of the wood. The colors are high-key, black, white, dark grey, and bright white. They seem to be assembled out of the haze, and are crisp, broad, and a little lighter than the Elm pieces.The ellipses in the drawings do not do the same thing; the ellipse is drawn in bright light. The ellipses dont follow each other, and in some cases the ellipse is crossed in the middle of the page and the first ellipse is blended in the background, while the last ellipse is projected on the right. The colors are in a manner of great variety from white to red to a pure cream, with some gray and yellow. The ellipse is a particularly well crafted ellipse.

Result #4

An etherstar is an etherstar is an etherstar. An invisible star or star of some unknown type is always a fire star, an invisible one is always a star. (Redundant stars, unknown or invisible, are redundant.) Each of these elements is a sign of the multiplicity of being; each is a mythic archetype, a form of the Other, and a sign of the infinity of being. When in the late-Romantic times, when the tradition of myth was developed more organically, as a kind of symbology, than it is in the present, the problem was just to find an idea of the other, as in the world of nature and natural history. In order to make that idea tangible, the legend needed to be detached from the legend, as in the interpretation of the miracle. The same might be said for the goddess. In some works of late, the goddess has been split from the moon in order to represent the metaphorical nature of the moon, but these events show us the moon as a figure that illuminates an unknown world. The only images of the moon are actually solar flares and photogenic flares, with their radiance. The moon is also the goddess, and it is not surprising that her complex form is a caricature of that form. In her hands, the moon is reduced to its most essential possible state, a cosmology, and is transformed into an essentially decorative motif. She doesn't want to touch the myth, but rather to draw upon it. The moon is reduced to its most essential state, a cosmology, and is transformed into an essentially decorative motif. She doesn't want to touch the myth, but rather to draw upon it. The moon is reduced to its most essential state, a cosmology, and is transformed into an essentially decorative motif. She doesn't want to touch the myth, but rather to draw upon it. In the long run, however, one wonders if this is the only possible conclusion, for the moon is her mother.

Result #5

It is said, that in my heart, one is not a star, but the one who is a star. It is a symbol of the fragility and fleeting nature of things, which can be, in their own way, self-reflexive, and with the help of a cryptic language of signs. The most striking part of the star is that it has no body, and it is very small. For this reason, the creation of a star as a small, rigid body is also a symbolic form. It is like a cry of recognition; it is a sign that speaks for the individual as a whole, for the social group as a whole. It is as if the future of humanity is a question of noticing the tiny star that is always visible, even though it is only a tiny fragment of a whole, a fragment of a part of the whole. In it is hidden, and in it, the works of art of all peoples and all time forms are visible.