Here the movement in which the brush strokes is no longer central. The
centrality of the generative move of application - from full brush to empty
canvas - has been supplanted by moves in time. With these other times the
singular determination of application - even the deferral or tracing of
its presence - gives way to the presencing of strokes that no longer mime
simple application. Paint works in different ways. Afterwards the simple
will reemerge as the site of already having been another inscription; with
it the simple will have become a feint.
What marks out this possibility - the inscription of the stroke in a move
that presents its presence - marks its practice while at the same time
working to preclude the feint of immediacy. Neither doubling nor simple
repetition. Occurring beyond the sway of negation at work here is the
attempt to show. What is shown - and as what is at stake is art's practice
there will be no demonstration prior to the event - is an irreducible
presence within the inscription of paint.
In reworking what had been taken to be simple and thus in showing it to
have had a potential that could only have been released afterwards, this
presentation of the brush stroke rehearses complexity by allowing for a
further adventure within painting. There is a release that is original. And
yet because of hold of the history of paint's application - even allowing
for the particularity of abstraction and thus the posited centrality of the
surface - the original refers to that point of departure which will have
always been more than one. The origin as anoriginal.
Henceforth it will not have been that the bush works twice - to inscribe
and then reinscribe. Here there is another presentation. An attempt to show
that the brush stroke will have always worked twice. The difference is that
rather in having to uncover a plurality that was masked by the desire for
simplicity - the putative singular - it is there as a complex, within a
complex, in its being acted out. Rehearing and showing become the working
out of a plural event. Presented as the affirmation of an already present
je serai curieux de te revoir.
Returning will indicate the impossibility of a final separation and thus
an exacting moment of freedom. The hold of fascination, the lingering that
marks curiosity will give rise to another freedom.
There will have to be a place in which coming back, returning, brings
with it what for some will be a certain emptiness, but for the one held by
curiosity, longing within fascination, the return is the moment in which
fascination and curiosity will be able to figure. They will have effected a
movement of return eschewing recovery.
To have allowed for a certain interest.
Without the determining will to know, to master, and yet without the
indifference that marks having yielded to complacency, there exists a
possibility of entry. A way in still allowing for the hold of a certain
There will be the joy of abandoning oneself - giving up myself - to
another form of knowing. A knowledge without knowledge and therefore of
taking the path of another pursuit.
What comes to be held in place is allowing for a certain threat; holding
to a form of seduction; a holding yielding an engagement, even another
passion. Curiosity sustains attention. Its sustaining attention is the
founding mark of the curious.