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In suspension and with a sense of imminence, the
interval might be figured as a coiled spring,
seemingly in stale time and inertia, and with a
pregnancy that doesn’t necessarily relate to the time
before and after.
The interval is a threshold, a moment of stillness, a
time with a distinctive sense of finitude that renders
it a cluster within time with a paradoxical sense of
autonomy. It is a time of anticipation and it is the
feeling of waiting that becomes characteristic in it;
an absence that becomes present and something yet to
come that remains always elusive.
A self-contained time in between times, a no-time that
becomes the ground for a different function of things
to take place. In the interval, in parenthetical time,
things may be on hold yet they are still able to move
without necessarily the directness toward a specific
purpose, and in a manner that becomes able to form its
own figures; a mixture of boredom and fascination.
It is there where language seems to find a ground to
function beside prosaic constraints –does the same
happen with painting as well?
Sideways is perhaps a way this could be approached; on
the margin and with the flexibility this may offer,
beside any constraint or heaviness of needing to
follow a dominant, pre-set narrative. Seemingly
purposeless and rather pointless, without this though
suggesting that they are meaningless or of less
importance, with the pointless exactly being a part of
their function and identity. Gestures and movements
that are made and taken in a sense of stillness and
inertia, become liberated from causality, with the
elusiveness of things that move, occur and happen
within the gaps; in stale time and with the
flexibility offered by it.
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