Here, a field,
a wide view,
an eye on the horizon
within a periphery.
Objects come and flow through systems
we use them,
we waste them,
we wear them out
and on the other end—
the waste stream.
When forms have been in the world awhile,
they have a grime.
Circulating and rotating
through waste stream sludge,
Pauses in a circuit based horizontality,
supply chain blockage.
We encounter through the lateral, network through a horizontal window.
Feedback loops and tipping points.
Approaching virtual
by being close to something without actually being it.
The felt distance between two poles,
time-being
and
time-sensing.
Another point of entry: Medieval charms, objects from a time before literacy when written language could be ingested instead of read. Contemplation and sight as a form of touch. Text is an exchange in this sense, something to be given. Chemically sensitive, text is hidden, folded, embedded, ingested, and touched with a potential to tilt, rotate, and spin. Poetics can be a shell, a vague perimeter that embraces and contains — a poetics that encapsulates both legible and illegible fragments— coalescing to communicate variations on utility. A process of composition and decomposition. Analogous to plants, bud-like. Part of a process in a centuries long effort to arrest the image and fix it. Casting, like photography, is a printing process with objects. Here, text and images have been rotationally cast with urethane resin. You start with the ball, make a negative impression, pour into the negative some sort of system towards a positive. Here— in the copy— the positive is a shell, a thin space between an inside and outside. Doubling instead of dichotomy, having synonym siblings instead of contradictions. In holding it (the text/image/material) captive, a support structure emerges. Circumscribing around a horizontal structure to enclose, partial and poetic, a network for things holding things.