"when
the
ball
comes
to
play it
with
your
prick,
your cunt
and
womb
to
play
it
with your
stomach,
solar
plexus,
heart
and
so on
up
to
play it
with your
lunacy, the
sky,
the limit-
less
and
so" |
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Torben Ulrich's note:
8. Print on rice paper, signed and numbered.
Initial work, also on rice paper (see notes 1 and 2).
Printing procedure itself: initial rice paper photographed, then
taken to Kinko's, copy and printing chain, an outlet of theirs in
Seattle, where dear artist friend Monika Lidman, working there at
the time (2003), offered to help. Photographed image of initial rice
paper placed in Kinko computer printing machinery, Monica
orchestrating improvised, maybe random, pushing of buttons, first
under her guidance, then taking turns (also within singular
printouts): interplay, fun (field's where you find it).
A way of seeing this particular composition, in terms of relationship
between rope and text: viewed from above, red rope as curved line
of swing, say, forehand, backhand or contemporary large volley
motion, hitting down toward bottom of paper, line of text serving
as axis for swing.
Going along with this reading, may raise question: how come ball
at top appears behind swing? Possible answer: Player who swung
missed. Happens.
Regarding color variations in brownish background, lighter patches
as if radiating from red parabolas: initial impact of ink from rope
bleeding out into rice paper, now slowly drying, and in process
pulling up paper, sort of shrinking it, making paper wavy, uneven,
adding perhaps dynamic sense of space.
(Number refers to this note, not the work's reference number. These notes can be read on their own and also as an ensemble, or set
of concentric circles that can be read both from outside in and inside out. See the full Notes on Balligraphies.)
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(See thoughts from Torben Ulrich about some of his works in Notes on Balligraphies.)
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