“I decided to create a show in the same fashion that I would paint a picture.

At first I was thinking of symmetry and began drawing diagrams. If Ondre’s work was positioned in the exact middle point between Thompson and Campbell the symmetry would be maintained, but I was sure her work could easily shift to one side or the other. Further, the diagram was only symmetrical if Thompson and Campbell’s work were envisioned as the same shape (dots), and that, I was certain, could not be the case. This was an exciting observation because it meant that I could expand my two-dimensional model into a three or four-dimensional model. With these new dimensions, I could activate the negative space of my diagrams with Darboven’s musical work.

Ultimately I was designing a collection of four artistic worlds that spanned the relation between sensation and intellection. A generic tension, but generic in the sense that it could encourage us to say something like “art and human experience”. Existential! I like being alive; experience is what we are made for. How do we think about our sensations? How do we sense ourselves thinking?…”

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