WORK: Titles from Excerpts: The Boy Changes His Name Again

2011. Ink on paper. 6 x 9 in.“Now they’re just showing off, he thinks. ‘Tadeusz and Gregory.’ The mere sound of those two names makes the boy want to spit on the floor. It is perhaps only the presence of carpet beneath his feet that prevents him from doing so. This aversion has most likely been carried over from a former self (certain neuroses of hygiene accompanied several of his previous names); likewise, his current disdain for the pair of scientists is a reaction to specific events experienced by someone he will not reconcile as himself (despite corporeal continuity). These lingering compulsions would weaken the case for his practice of pronounced inconsistent identity if only he were to acknowledge their origins.”

2011. Ink on paper. 6 x 9 in.

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2011. Ink on paper. 6 x 9 in.“He is sacrificing persistent identity for the sake of being able to function in the here and now without the impediment of background determination. This is both what he is doing and why, both action and motivation.”

2011. Ink on paper. 6 x 9 in.

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2011. Ink on paper. 6 x 9 in.“And what of his differentiation between running with the present and running toward the future, are they actually two separable states?”

2011. Ink on paper. 6 x 9 in.

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2011. Ink on paper. 5.5 x 4.5 in.“Is there even a distinction here? Rejecting the past versus embracing the present and/or future: they’re probably the same thing.”

2011. Ink on paper. 5.5 x 4.5 in.

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2011. Ink on paper. 3.5 x 5.5 in.“The name-changes had come to be a way of ignoring his past, though he didn’t always understand that. He isn’t so sure now, either. They might instead be more about him running with the present, or toward the future.”

2011. Ink on paper. 3.5 x 5.5 in.

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2010. Ink on paper. 9.5 x 7 in.“He wants to believe that retaining these fond old memories would be possible without longing to return back to those bygone days. He wants nostalgia without regressive desire. He wants to remember and also be ok. But he can never have the one without the other. And so, the boy changes his name again.”

2010. Ink on paper. 9.5 x 7 in.

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2008. Watercolour and gouache on paper. 10 x 7 in.“A man who may be the boy’s uncle, or perhaps the gardener (he is dressed as such), does not present himself to the boy. In private this man questions the aunt as to what the boy is doing in the house, and advises her that the boy should be sent on his way without delay. The aunt nervously urges the man to lower his voice.”

2008. Watercolour and gouache on paper. 10 x 7 in.

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2008. Watercolour and gouache on paper. 10 x 7 in.“The boy changes his name again. Having enrolled at the university, he now travels by foot to the campus. On the way, he calls upon his aunt who lives in a fine house. Outwardly she is pleased to see him, and welcomes him into her home.”

2008. Watercolour and gouache on paper. 10 x 7 in.

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2009. Ink, graphite, and watercolour on paper. 10 x 7 in.“The boy reclines onto the cool and slightly damp grass. He wonders why it has taken him so long to do so, as he has been at this spot for over an hour and a half. He looks to the sky. He can see the Milky Way: something else he had forgotten existed. He is now sure he needs to change his name again, but as to what he is yet undecided.”

2009. Ink, graphite, and watercolour on paper. 10 x 7 in.

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2009. Watercolour, gouache, and graphite on paper. 10 x 7 in.“It really doesn’t matter what name he is calling himself. The boy is just a boy. Tadeusz & Gregory immediately detect childlike work. The catalogue is logical, but oversimplified and far from exhaustive.”

2009. Watercolour, gouache, and graphite on paper. 10 x 7 in.

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