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[[Image]]Book cover
Vol 5 No. {?}
POINT OF CONTACT
EYE ON CINEMA
[[Image]]

ON THE ARTIST OF THE COVER
Beside the visible: Judy Pfaff by Pedro Cuperman

Some Years ago, more precisely in 1997, I saw Round Hole Square Peg (pp.44-45) at the Emmory Gallery. It was a rather unusual installation for a Manhattan gallery--the trees, the circular forms on the floor, the tubing; and the dazzling remake of the gallery with Judy Pffaf's heavy signature intruding at every corner, at every angle of vision. It made me think of the Baroque period, and of the baroque mood of every age. It reminded me of Lonhenqa's staircase unfolding into an immense stage at San Giorgio Magiore. A work of the imagination grafted in space. I had seen Judy Pfaff's work before. I had visited her studio and in 1988 I wrote about her for a catalogue on America's Baroque. That's why I wasn't surprised to think once again of poetry, of her impervious intuitions of space. Lessons of Gaston Bachelard. And I thought also of how I would transcribe in words those forms. Words like "metamorphosis," odd expressions to write about a Manhattan gallery, of the color white of the walls, and of what is holding a show together. Echoes and evocations.

To sink into the imaginary... Installations as poems in space. Her materials work in opposites; they don't mix, they blend. The blending of opposites is the closest you get to metaphor, which is the risk and reward of poetic imagination.
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