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There comes a moment in the life of every great artist, of every poet, in which his idea of beauty, a conceptualization that up to that point in time needed by necessity to be followed continually in an upward and always elevated spiral, is then suddenly, without warning, inverted in the opposite direction , is shown to be, one could say, falling vertically. . . This is the point of de-creation, when an artist in the supreme interpretation of his art no longer creates, but rather, de-creates, the messianic moment, one impossible to give a name to, one in which art itself is miraculously held in stasis, almost in astonishment, in every instant, it is fallen and resurrected. GirogioAgamben, “Belezzachecade,” inCy Twombly: Eight Scupltures (Rome: American Academy, 1998)
Leftovers come to stand not for what once has been but what will be. They suggest forever fluctuating possibilities. What is kept as important and what is cast our as unimportant have always been mutually dependent, and, needles to say, have been subject to radical historical chances over time. Focusing attention on the leftover puts into question the value of what we choose to keep. The things that seem important at first end up being abandoned and what is at first abandoned ends up being the most productive. Chance often works this way, when something that has been cast aside breaks through to something new. BrioneyFer on Orozco’s Working Tables
