<span class="subtitle"> [title]</span><br />
			<span class="texttitle"> City Fragments<br /> </span>
			<span class="subtitle">
			ghosted retaining walls tell a story<br />
			in the codes of a dead language
			</span> <span class="textfont">
			[scene 1 terracotta] <br />
			solid, earthy, rough or smooth<br />
			<span class="larger">
			cement lines in between </span><br />
			lines of thick icing in a layer cake of mud
			</span> <span class="textfont">
			[scene 2 pentimenti]<br />
			softly <span class="larger opacityhalf">faded colors </span>
			fill a peaked triangle <br />
			outlining the roof of a long gone house<br />
			</span> <span class="textfont">
			[scene 3 ghosted]<br />
			a few fragmentary pieces of type<br />
			relics of the sign painter’s art
			sit like a <span class="larger"> tattoo</span> <br />
			on the skin of the rusticated surface. <br />
			</span> <span class="textfont">
			[scene 4 ancient]<br />
			<span class="enlarge opacity">brick is an old material</span> <br />
			hard and soft at the same time<br />
			porous or softly glazed
		</span> <span class="textfont">
			[scene 5 block]<br />
			sculptural as it crumbles into red earth<br /> 
			<span class="enlarge2x opacityhalf">incremental</span> and modular<br />
			not hewn or poured like stone or concrete<br /> 
			</span> <span class="textfont">
			[scene 6 melt]<br />
			<span class="xlineht">associated with stability and strength<br />
			except for earthquakes when mortar <span class="larger">liquifies</span><br />
			it wobbles, heaves and becomes fluid</span>
			</span> <span class="textfont xlineht">
			[scene 7 embody]<br />
			each material has a different relation to the body: <br />
			soft or hard, cold or warm, natural or synthetic<br />
			space and flesh defined in opposition<br />
			not really living, but still present	
			</span> <span class="textfont">
			[scene 8 blemish]<br />
		 	faded histories are captured <br />
			in <span class="enlarge2x">small imperfections</span><br />
			remnants of weathered paint, ghostly outlines<br />
			</span> <span class="textfont">
			[scene 9 tracks]<br />
			a story written in volumes and voids<br />
			the changes in texture and color over time and reparation<br />
			create odd <span class="enlarge">rectangles </span> <br />
			defined in courses of contrasting color</span> <span class="textfont">
			[scene 10 vacant]<br />
			<span class="largerserif">streetlights illuminate <br />
			an empty room</span> <br />
			deep blue shadows at the edges,<br /> 
			broken chairs, clothes, <br >
			a man‘s soft felt hat<br />
			</span> <span class="textfont">
			[scene 11 isolated]<br />
			<span class="larger opacityhalf">stranded </span> in the middle of the floor<br />
			perfectly isolated in a pool of light</span> <span class="textfont">
			[scene 12 discarded]<br />
	 		these bricks retain <br />
			the <span class="largerserif">sense impression </span><br />
			of the old factories that once filled this neighborhood<br />
			making cigars, hats, leather shoes and binding books<br /> 
			</span> <span class="textfont">
			[scene 13 deserted]<br />
			opposite, a line of bricked up windows <br />
			telegraphs isolation and <span class="larger">abandonment </span><br />
			flattening out the expected alternation <br />
			of solid and void into mute abstraction
			</span> <span class="textfont">
			[scene 14 introspective]<br />
			this deliberate <span class="largerserif opacityhalf">blankness</span>  <br />
			conveys the impression of an entire culture<br />
			facing outward but really looking inwards</span></span> <span class="textfont">
			[scene 15 oversize]<br />
			<span class="larger">across the rooftops </span><br />
			in the distance, the scale expands,<br />
			the units are gigantic, smooth and repetitive.
			</span> <span class="textfont">
			[scene 16 unadorn]<br />
			they belong to a different order of things<br />
			proudly <span class="enlarge">refusing decoration</span> <br /><br />
			using massive scale and verticality<br />
			to rupture with the past </span> <span class="textfont">
			[scene 17 patina]<br />
			<span class="largerserif">material surface reflects material values</span><br />
			even when polished by time and weather
			</span> <span class="textfont">
			[scene 18 mirror]<br />
			the <span class="largerserif">earthiness of brick</span> <br />
			stands in silent reproach of the unyeilding reflective glass <br />
			posing a contest of philosophical ideologies
			</span> <span class="textfont">
			[scene 19 deformed]<br />
			like warp in a <span class="larger">woven cloth</span><br />
			within a pattern of brick<br />
			the horizontal dominates more than the vertical<br />
			</span> <span class="textfont xlineht">
			[scene 20 stoneage]<br />
			this is a small connection to the Neolithic past<br />
			reaching back to 7500 B.C. near the Tigris<br />
			originally just humble mud and straw
			</span> <span class="textfont">
			[scene 21 artifact]<br />
			<span class="enlarge opacityhalf">hardy relics</span><br />
			of the neolithic revolution<br />
			the archaic alive in the present