Nine Square Noughts
This composition of nine square noughts seems to carry religious overtones without reverting to the particular iconography or symbols of established world religions, a sort of crucifix for Humanists.
This composition of nine square noughts seems to carry religious overtones without reverting to the particular iconography or symbols of established world religions, a sort of crucifix for Humanists.
A hinged diptych containing some crude elements of language, contrasting candy coloured vowels with sombre and darkly textured consonants chosen for their fricative and explosive values.
The first step for an artist is to prepare his ground.
Painting one’s white shoes white is the first step towards a form of artistic rehabilitation.
The idea of declaring something that is deemed to have happened as not going to happen seems wonderfully obtuse . . . and fascinating!
Pulped paper documents from an earlier life bear the impression of the largest single unit number, ‘9′.
Embryonic in form, this symbol contains the whole sequence of informational units that precede it.
Do you see myself? I see yourself. You see myself, do I see yourself?
You see myself, do I see yourself? Do you see myself? I see yourself.
A very early drawing by AMA shares a remarkably excentric composition with an oil painting produced in Normandy in 1913. The drawing is developed thirty three years later courtesy of digital technology.
The central image, applied to a tablet of hand-made paper, is a chemical reduction of a black and white photograph of the artist as a young man; it has effectively disappeared.
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