" ...This reflection encouraged me, and then instilled a kind of vertigo. Throughout the earth there are ancient forms, forms incorruptible and eternal;
any one of them could be the symbol I sought. A mountain could be the speech of the god, or a river or the empire or the of the stars. But in the process of the centuries
the mountain is levelled and the river will change its course, empires experience mutation and havoc and the configuration of the stars varies. There is change in the firmament.
The mountain and the star are individuals and individuals perish. I sought something more tenacious, more invulnerable. I thought of the generations of cereals, of grasses, of birds,
of men. Perhaps the magic would be written on my face, perhaps I myself was the end of my search. That anxiety was consuming me when I remembered the jaguar was one of the attributes of the god.
Then my soul filled with pity. I imagined the first morning of time; I imagined my god confiding his message to the living skin of the jaguars, who would love and reproduce without end, in caverns,
in cane fields, on islands, in order that the last men might receive it. I imagined that net of tigers, that teeming labyrinth of tigers, inflicting horror upon pastures and flocks in order to
perpetuate a design. In the next cell there was a jaguar; in his vicinity I perceived a confirmation of my conjecture and a secret favor..."|
- Jorge Luis Borges, "God's Script" — with Phil King.
"Rather than a coherent linear progression I find my work in relation, bringing together pieces made in different places and circumstances and presenting them as a body. I exploit the synthetic nature of classic modern art to frame my experience, to create it to some extent, relishing the power of its absolute artistic nature, and yet then putting it to up 'for grabs' relational life."