appears--but not the photographer. He is someone I would gladly eliminate entirely, but it is an effort to
disappear myself. I thought about sheeting myself in a white shroud, but this seemed fantasticated.
consisting of a flat white spray painted through lace onto which details in flat black, gloss black, gloss gun metal grey, metallic silver, and gloss white were added in increments.
The lace through which I shot the " skeleton image" was from a curtain for a baby's room, and featured smiling teddy bears holding balloons reading, "it's a boy" . This is my baroque mirror's preposterous origin.
itself. Whether this is true or not, the piece makes a more unified impression--I hope--in person than in these
There was also the superstitious sense of being watched from the other side of the mirror by my dead---if a superstition may be understood as a notion not quite believed but entertained none-the-less. I was perhaps doomed to be haunted, then, and not only by my dead but by lace teddy bears holding balloons.
This was done at roughly the same time as The Black Mirror (for James Merrill) which was, however, done on thick plate glass. I no longer remember which was done first, but both had been preceded by a number of studies on either window panes or small mirrors, and were to be the last flat pieces on glass or mirror that I did. They would be followed by a larger number of paintings on double or triple mirrors, but the slickness of a glass surface was one which never quite appealed to my hand, unlike working on aluminum screening---which requires a fastidious lightness--or paper--where I can exalt in exactitude. This may sound odd, but glass--which can be revised, scrapped off ,or painted over--- forgives me a little too much.