“God cracks the pavement”

The emblem structure employs a certain amount of awareness to very minute, very subtle intricacies. It also entails a philosophical perception, a necessity to the shift of the poem. The process can be easily interrupted while searching for one particular thing, whether it be in a painting, a sculpture, a person, etc. While observing the pieces in the art gallery on Monday, I felt as though I was constantly searching for that specific something to ignite inspiration. Perhaps it was because I was trying to force the inspiration to come forth from this object, and although this may seem very enigmatic, but I couldn’t find any link between the artwork and myself, or how the sculptures and photographs etc were moving or angering or depressing. When I look at a being/concept of art, I’m lost in the artist’s statement. It’s difficult to include myself in that statement, feeling completely estranged from the artist’s idea.

In XVI. Long Beach, NY, 1989 Waldrep writes:

A photograph is a skin that has been removed from the object, a sort of portable illumination.

A photograph, like a poem, is reproduceable through mass media.

A photograph is the skin on which objects rest.

This was the sort of turn that resonated with me. He condenses his statements from a general statement on humanity to the specifics of looking at the photograph and the meaning of the photography. Although the turn is subtle, most of the lines (in this same poem) stand on their own. Each line in this poem, for me at least, could sum up the entire poem. When he writes “One pours, one waters. God cracks the pavement” on the same line, the design of both statements is so distinct.



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