Form and Structure

Linear/curvilinear, geometric/biomorphic, hard/soft, solid/fluid, stiff/supple, static/kinetic, firm/frangible, inflexible/elastic, unyielding/pliant, still/flowing, muscular/vulnerable, silent/moaning: it is the expediency of binary logics that threatens the need for a work to occupy and remain at the edge of extant formal and structural practices. There, it lets itself divide, differentiate, and proliferate. There, the eccentric thought comes to be. It, as no other, bears the means for creating the rich, concentrated concepts of which the arts are always in need, and, importantly, for avoiding what for them are possibly their greatest dangers: the conventional, the commonplace, the cliché; these, and other sundry repetitions. The edge is desirable. There, a work resists capture. There, it carries the promise of practices to come.