Sculpture is often notorious for defying photographic reproduction. The posture and expressions of the gallery-goers at left perhaps do more to convey the mystery of the two cubes on plinths at the window than the photos of the sculptures themselves.

Both cubes find their structure in words. The calligraphy, fissures of curve and isoscelean angles that grew from the wire sculptures of 1997, spell out Wittgenstein's provocative assertion, "The limits of my language are the limits of my world."

The phrase, spelled out twice on each side of the cubes, manage to simultaneously concur with and refute the statement. The words create the structure, and yet to read them through to the other side, especially in the case of Wittgenstein's Dilemma Inverted, where they're printed in reverse, thus requiring the viewer to read through the center of the solid lucite and the infinite shifting reflections therein, the words embody limitlessness.

The two-dimensional letters fuse together to create a three-dimensional structure, which then suggest further dimensions. Are not those further dimensions often painted with the colors of music?

Just three pictures left. Turn round and have a look BEHIND YOU.  > >

Web-Only Exhibition Notes,  Fort Worth 2001

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