REDACTED UNREALIZED PROJECT PROPOSALS

XXXXXbegin XXXXX space, pacing its measurements, tracing XXXXX traffic tXXXXX.  XXXXX say without looking XXXXX 1. Clouds are the mobiles of the greater outdoors.  2.  Clouds, XXXXX during XXXXX, spring into apparent being formed XXXXX already there in its reacting XXXXX.  3.  Clouds are apt image-images.  4.  XXXXX, what people are wearing can tell you as much about the weather-conditions as the look of the sky can.  5.  XXXXX have places for things, XXXXX relationships.

XXXXXXXXXX mime changing the proportions XXXXX copying XXXXX XXXXX some feet above those exis XXXXX elements.  XXXXX horizon line XXXXX ground-plane for the arraying and arrangement of objects in the room, XXXXX image of a spectral image; a new “floor” at waist-level, making XXXXX “below.”  inforcing XXXXX by -figuring XXXXX.  XXXXX the arrayed objects X XXXXX as generic- “ - - - - - -through” type X : a XXXXX peg coat rack; XXXXXframed images X; maybe a waste basket XXXXX.  XXXXX.

XXXXX principle kinetic XXXXX made/XXXXX atmosphere generated by amplifying XXXXX, incidental XXXXX attendant XXXXX activity.  XXXXX microphones, especially lapel-mounted type microphones XXXXX lapels XXXXX), XXXXX sounds XXXXX XXXXX on-and-off, , XXXXX, XXXXX.

XXXXX change the Real XXXXX aspects o XXXXX passage,XXXXX, of XXXXX XXXXX.

XXXXX image XXXXX, XXXXX images XXXXX(XXXXX, personal XXXXX, photographs, XXXXX) XXXXX -image XXXXX n image, XXXXX image-on-image. XXXXX contingency, simultaneity, overlapping, orbit; these are the terms XXXXX you XXXXX.  XXXXX, XXXXX, XXXXX.

XXXXX thrust XXXXX XXXXX shimmies around XXXXX moves.  this XXXXX one aspect can reveal XXXXX, wXXXXX How XXXXX-XXXXX.

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The point is that I don't know the end. It is one thing to dissect an extant circumstance into concrete constituent maneuvers. To, say, move through Feel and Texture into the one-off of Heft and begin the long-term relationship with Wear: undies, for example. But I worked this out backwards just there, and with something given and understood: an article of standard relationship to a way of doing: underwear, under there, undering. I think it is something different to imagine being asked the question: "Who told you that you were naked?" and to realize that your fig-leaf wasn't doing the trick. Beginning from the more abstracted notions of placement, covering, direction, all lent to a feeling of need, and derived from a state of separation, of distinguishing. All this to say that I'm thinking about things in relation in these ways.

(((((Inasmuch as Encounter, and specifying Modes of encounter, are roots of this sculptural understanding, XXXXX try to devise ways to conduct research in fields of encounter, and especially in Exchange as a way to surrender portions of will to the encounter at hand. To ends relative to this, XXXXX compose an exchange, a public sculpture: (In its interfacing it is a street-vending shaved-ice push-cart; in its essence, an ongoing, thing-generating, sense-integral back-and-forth. Build the cart and push it around. Go through areas where others are. Stand for a while and repeat these activities in various permutations: Shave ice from a block and mound the shavings. Participate in these ways in the sidewalk places of public space.) Propose problems toward a more discreet thing-oriented practice, merging with concerns of Approach, Articulation , Image-place, Resolution-shift, Documenting and returning.)

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TITLE: 5 ≠ 5

DESCRIPTION:

During the_____________________________________emerging____________________regarding what it _________________________________________________________________________lines have disintegrated. Th_____e_____n_ a body of work by 5 artists coming from 5 ve as maker, material, performer, critic, politician, and lab rat, the visual became as thinking, as experience, as behavior.

PROPOSAL:

We are looking for an opportunity to visit the after-image of our companionship. Over 3 years have passed since our departures to upstate New York, Brooklyn, San Francisco, Los Angeles, and Columbus, Ohio. On Thanksgiving Day of 2006, Crispin Webb suddenly passed away of a heart attack to everyone’s surprise and dismay.

We are proposing an exhibition of our working, and in posthumous respect to the death of our friend Crispin Webb - in many ways the anchor .

Materially, our work tends to involve survivalist. strategies, employing both the readymade and the crafted Performance, both in the literal sense and figuratively (as discipline, as theater) factors into all of our work. Power and its effects form a running theme.

We would like to.

Please find encloseour resumes, and a body of images.

Thank you.