Doomed to see the summer moon 2026 – 23,2 x 20,5cm, acrylic, spray paint, photograph
The inescapability of perception, the condemned quality of the one who cannot stop seeing what is there to be seen. Not punishment. Simply the fact of being the kind of thing that sees, and of the summer moon being the kind of thing that cannot be unseen.
The work exists in three temporal registers simultaneously.
First: a painting, discarded, incorporated into a sculpture as fragment and substrate. Second: the sculpture photographed, its surface compressed into the photograph’s frame. Third: flowers painted directly onto the photographic surface, growing from what the photograph’s deep space renders as a stone ledge at the base of the sculptural terrain.
Three moments of making on the same surface. Three kinds of mark in simultaneous presence. The photograph is not a record of the finished object. The painting applied to it is not a separate work. Both are stages in a process that the series has been building toward since it began incorporating real materials, wire, twine, hemp, plaster, into its surfaces: the documentation of the work becoming part of the work’s continuation.
The summer moon is the swirling landscape of the sculpture’s surface, so large and so present that seeing it is inescapable. The flowers are what the doomed seer places at its base. They appear there because they always appear there, at the foot of every vast and inescapable surface in this series, the garden that persists at the base of the geological, the administrative, the nocturnal, the contaminated.
Doomed to see. The flowers placed anyway. The summer moon remaining exactly where it was.