Suggestion is the rock, and the physical evidence is the evanescent spray that breaks against the unseen. Transitive enharmonics of things touching in middair, an air which is Time—not an actual intersection, but with a consequence as powerful as predestination, a momentary fulfillment, a trail beyond mere pattern, like a streak of truth alive and uncontained, like something that runs through infinity slowing to leave condensation, sonority, a temperature. Lines crossing lines. Not there. There. Invisibilities smudging. Gesture and impression, optic suggestions, agents on and in the mind. Each with vibrations, dollops, whispers, throbs, particles and waves. A finger of pigment brushing a lip of language exchanging carriage supports, liquidities, fire. Moire of meanings. Micro settings in the heart. The time it takes. The very least one can say is to say The Extravagant Shadows is a major work. Humanly essential, adventurous and necessary.

나는 작품 전체를 단일형식으로 재촬영 하는데 지난 해를 소비했다. 그런 다음 1995년부터 발전시켜 온 글쓰기와 편집 과정, 내가 자주 "응결" - 단락, 문장, 구절과 단어가 천천히 시간이 흐르면서 증발하는 과정으로 나타나는, 기존의 텍스트 시리즈와 나 자신의 글쓰기를 결합하는 방식으로 - 이라고 언급했던 텍스트 와 관련한 14년간의 작업을 완성했다. 양념을 줄이는 식으로 부피를 줄이고 남아있는 구성요소들을 심화하였다.