The exhibition title is a quote borrowed from Michael Nesmith, the American singer, songwriter, actor, Monkee and heir to the Liquid Paper fortune. We may never know what his word was, it is likely lost to history, returned to whatever dreamspace it came from. What we do know is that Michael's mother, Bette Nesmith Graham invented her Liquid Paper typewriter correction fluid using the family's kitchen blender, improvising through trial and error a tool that would allow typists to revise, redact, and correct all imperfections. The desire to undo, re-do, mend broken connections (whether in a typewritten sentence or in a broader sense) figures prominently in this exhibition, which continues the artists's investigation into the tropes of Romanticism.

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work in order of images below:

Every Combination of a Sixteen-Segment Display, 2017, LED segments, controller, armature, scaffolding.
Over the course of the exhibition, cycled through the 65,536 unique configurations of these digital sign segments, in an unpredictable random order. Every number, every letter of the alphabet, various signs, symbols and Rorschach-like forms appeared throughout the exhibition. The element of chance always held the possibility that something meaningful even profound might emerge out of this randomness.

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Wishing Away The Things I Suspect Are Standing In The Way Of My Encounter With The Sublime,
images of significant sites which the artist found to be somehow disappointing in reality have been “corrected,” returning them to the realm of the ideal.

 

Wishing Away The Things I Suspect Are Standing In The Way Of My Encounter With The Sublime: Georgian Bay With Noisy Party Boats Omitted. 2017, folded archival digital photo,15”x15”, 17”x17” framed.

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I’ll Show You The One Thing Only I Can See, 2017, graphite on archival digital print, 15”x15”, 17”x17” framed.
A faithful rendering of the artist's “eye floaters” mar an otherwise pristine landscape. These defects appear as floating squiggles and refer to elusive, phantom forms that are ordinarily visible to no one but the artist.

 

An Obsolete Calendar Towel Embroidered with an Identical, Future Calendar Year, An ongoing series of vintage calendar towels embroidered with the date of an identical, future calendar year. What was once obsolete thus becomes decades ahead of its time.

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(not shown) Rubbing of a Drawing by Dan Flavin, 2017, charcoal on Arnhem 1618 paper, 15”x15”.
Original drawings by Flavin, LeWitt and Albers have been “copied” using the technique of frottage. Generally done on relief surfaces like plaques or gravestones in order to record three dimensional details, it functions here as both an act of reverence and a gesture of eradication.