My practice is focused on structure in series, coaxing each piece within the series to iterate its variance from the constraining norm. Such shaping of the image in relation to its archetype allows the quotidian to evince a remarkable range of affect, and it is this emotional sweep that emboldens our vision to the tragedy of the commonplace, the sluggish evanescence of the merely real. These vented pipes on Valencia Street perform a panorama otherwise unseen and unconstructed. The more I find, the more completely the motility of decay appears to arrest itself for the rendering. There is love in the painting of the world on its way to disappearing, the obfuscation of purpose in the service of sublimity; there is pathos in the witnessing of agency essentially occulted and curtailed.
beautiful work!–& your vision Steve is infectious! I can not walk our streets anymore without noticing them. I feel like I’ve been initiated, into what I know not
These pipes are so solid & shy; they aim downward for the eternal & in their different iterations give a vision of the ground that can only shift so much under the human weight. Thank you to Steve for the beautiful work & the site for posting —
you’re welcome, Kevin, and thank you for this lovely postscript!
So elegant these structures, and so close to the ground few who aren’t crawling on hands and knees might even notice them; but you did, Steven Seidenberg. They remind me of some old Romantic poem by someone insane, like John Clare’s poem about the humble cowslips: “Cowslip bud, so early peeping,/ Warm’d by April’s hazard hours;/ O’er thy head though sunshine’s creeping,/ Close the threatening tempest lowers.” So this is perfect for April—thank you, Open Space, for posting.