select images by Paul Solomon courtesy of the artist


Balance, symmetry, and logical narratives have never been a forte of mine, each of them however representing a state of being, action and method I do tend to strive toward. They recall to me a mathematical or otherwise sterile understanding of the nature of things and for many years now, never quite feeling up to cracking the code of rationality, I often find myself isolated from it, or, rather, placing the holy grail of logic on an impossible pedestal, as a kind of Eden, if you will. In all of this I have since come to accept my elsewise extreme, asymmetric and impulsive tendencies - I work so heavily with my intuition that I’ve found that this does not much require any certain trial or error; in itself it is the polar opposite of a logical, even, right world, in that both are all the more so illuminated in their antagonistic relationship.

Upon first glance, Paul’s work appears to me the very essence of the kind of fractured, indiscernible reality I so revel in, and when presented with the initial concept I was immediately enchanted. It was a feeling of having been gifted an aesthetic playground with which to navigate my mental landscape. That is to say little, too, of the shiny bright medium that is an iPhone 4s, which, (even better) I later learn is in some sense subverting its highly technological insistence in the absence of an automatic light meter (a feature updated for the iPhone 5c). I was so initially moved by this first glance that I promised Paul a show in that first moment.

The funny thing, and the thing I find the most relevant to share with you today, outside of being so proud to have come to the end/beginning of a long, fulfilling journey with this work is that, too being lucky enough to have watched the work develop, having become quick friends with Paul, engaging for months in correspondence, and with a hearty anticipatory mood to reveal the works, having finally now hung the works on the wall, adjusting the lighting, I see only just now that in fact through this whole process I began engaging and wanting to engage with the world around me in the actual symbiosis that Paul is creating between the irrational and the rational with these works. That, to me, is astounding. There is something here, a brief glance, a flashed moment of what that natural and supernatural dialogue looks like, it is duality breaking apart, a literal collision of method and chance, that Paul executes with a precision, wit and grace I have not seen in a long time. It has in fact encouraged me to reconsider my understanding of balance in the context of a much broader, much more wondrous paradigm, and somehow in the trial and method of exhibition, here, and now, Eden is no longer the impossible pedestal I once assumed. 

With Love,