by Corry Shores
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(Thanks John at Keyscorner)
And the incorporation of the text, as well as some of the imagery, reminds me a little of William Blake's poetic engravings.
The image here, in particular, calls to my mind Blake's depictions of gates or door-ways:
What is it about Brumar's works that can speak to us without interpreted meaning? What is meaning without interpretation? Would it be a direct affective communication of some sort? But I don't think we are affected by these works in the way a photograph might affect us. There is still something textual about our experience of it, even without us knowing what the words mean. The words are not just lines like brush strokes, but they are much more than representations. For, even the pure text poems communicate, and it is not just the way the letters look to us on our computer screens. I am particularly impressed again with the image we began looking at from here.
The words here seemingly flow from the person's head and it looks like they take on the formations of other people in the background. It is as if our minds make a gradual transition from words as thoughts to words as things. And words as well slip through the woman's fingers, like how we use words to try to communicate things on our mind, but find that the words we use cannot completely capture our meaning, which slips through and must find another form of expression. Has Brumar found another sort of expression, a way to say something in a manner that is not reducible to either text or image?