WORK: Titles from Excerpts: Tadeusz & Gregory

“They have been tasked with designing a pair of scissors capable of cutting an object not located between the scissors’ two blades.”

2011. Ink on paper. 6.25 x 4 in.

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“Gregory’s limbs relax, and spread out around him across the floor. “Where the hell am I?” he asks as he realizes he is staring at an office ceiling. [ . . . ] The last thing that he can remember doing was examining a complex diagram on a large sheet of paper. [ . . . ] The left side of Gregory’s head and body, as well as his chest, feel badly bruised. And why are his eyes so dry?”

2011. Ink on paper. 8.5 x 7 in.

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“Tadeusz retrieves an airline sleep mask from his desk drawer. He removes the mask from it’s package, and slips it over Gregory’s open eyes. Tadeusz waits patiently. It has been well over a month since the diagram first locked Gregory’s vision upon its immobilizing design; therefore, it will take some time for the afterimage to fade from Gregory’s sight. Twenty-seven minutes and forty-three seconds pass uneventfully, and then the diagram suddenly shifts loose from the spot where it has been persistently hovering in front of Gregory’s face. The diagram then sways gently as it floats down toward Gregory. Only a small corner of it lands on Gregory’s nose and cheek, but quickly slides off and follows the rest of the diagram onto the floor next to Gregory’s recumbent head. Gregory blinks, and begins to breath again.”

2011. Ink on paper. 8.25 x 8 in.

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Tadeusz & Gregory’s geometrically induced predicament draws to a close.

“Tadeusz is sprawled across the length of the office couch. It is midafternoon, and a clear day. He is staring out the window, which faces north. It is bright and blue outside, but no direct sunlight penetrates the pane. Despite the time of day, with the lights switched off, the room remains quite dark. Tadeusz closes his eyes. A sharp, impossibly coloured image of window-framed sky lingers briefly upon the dull interior of his eyelids. It is not long before the afterimage has been reduced to a spatter of multicoloured flecks. It comes to him then. Tadeusz jerks up into a seated position on the couch. He looks down toward the floor at Gregory’s rigid body with diagram floating above it. Finally, Tadeusz will be able to end this.”  

2011. Ink on paper. 8.5 x 8 in.

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2011. Ink on paper. 8.5 x 7 in.“‘Why does the bond between Gregory’s retinae and the diagram not dissolve when the pattern is blocked from Gregory’s view?’ Tadeusz cannot fathom any answer to the question, let alone a plausible answer.”

2011. Ink on paper. 8.5 x 7 in.

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2011. Ink on paper. 5.25 x 4.25 in.“Gregory is still lying on his back. Tadeusz, with one hand, holds a thick text book between the diagram and Gregory’s eyes in an attempt to sever the invisible bond between the two. With his free hand Tadeusz tests the fixity of the floating sheet of paper’s position relative to Gregory. It only takes a brief moment for Tadeusz to confirm that the bond has not been broken. Sighing, he walks away from his colleague and places the heavy tome back in its place upon the shelf.”

2011. Ink on paper. 5.25 x 4.25 in.

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2011. Ink on paper. 5 x 4.25 in.“Tadeusz leans forward upon his seat of Gregory’s shins. The diagram is suspended edgewise at Tadeusz’s eye level, and Tadeusz is staring directly at it, a thin horizontal paper line. How could something in possession of so scant a spatial depth maintain such steadfastness?”

2011. Ink on paper. 5 x 4.25 in.

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2011. Ink on paper. 5 x 4.75 in.“Tadeusz rolls Gregory onto his back. The diagram floats directly above Gregory’s face. [ . . . ] Tadeusz carefully places his feet upon Gregory’s chest, grabs hold of the diagram by its edges, and pulls as hard as he can. Neither the diagram nor Gregory budge a single millimetre. After several minutes of strained and futile exertion, Tadeusz gives up. He plants each of his feet upon the floor on either side of Gregory’s torso, and sits back upon Gregory’s shins (fortuitously, when reclined, Gregory’s body, in its permanent sitting position – lower legs ninety degrees to the upper legs, upper legs ninety degrees to the torso – can function as a chair for another individual).”

2011. Ink on paper. 5 x 4.75 in.

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2011. Ink on paper. 5 x 4.75 in.“The left side of Gregory’s body is not completely flush with the floor. The thin air between the surface of the chart and the scientist’s eyes is acting like a load-bearing support. And so the rigid diagram, which is balanced on its edge at roughly eighty-five degrees from the ground, is propping the sides of Gregory’s head and knee up away from the linoleum. This scene is not the result Tadeusz had hoped for when he forcefully knocked his colleague down to the ground.”   

2011. Ink on paper. 5 x 4.75 in.

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2011. Ink on paper. 5 x 4.75 in.“Gregory is lying with his left side against the floor. His body maintains the exact same pose it held while seated in the chair. It’s as if his collision with the ground has had no impact upon his body. This calls to mind rigor mortis, an association Tadeusz finds discouraging.”

2011. Ink on paper. 5 x 4.75 in.

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