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11.

May 8, 1981

Following writings were not included at Evanston talk.

My sculptures "Clytemnestra" number 1 (collection of Corcoran Gallery of Art, Washington D.C.) and "Flock of Morning Birds" (collections Hirschorn Museum and Garden, Smithsonian Institution, Washington, D.C.) Both sculptures had been inspired from "Iphigenia in Aulis" by Euripides. These sculptures were made from black glass neon tubing which when it lights up it would effect its own environment, or room that the work would be exhibited. Both of these works were exhibited at my exhibit, Pace Gallery, New York, 1967, of course, lit, I must say the black neon tube of these sculptures was rather invisible; in other words, environmental effect was not "obvious" as the exhibition room at Pace was lit with normal exhibition lighting, rather than exhibit my works in a dark room. The very idea of those sculptures was exhibited under the name of a very "known" American light sculptor as an entire environment with the "effect of course" of black light in a dark room at Kassel, Germany, 1968 Documenta. During this exhibition his room was neighboring at Documenta 1968 to the room of installation of my large "Clytemnestra" project, which was the second one that I made in a different technical approach than the "Clytemnestra" of the Corcoran Gallery, called "Wonderfully staged" as "Oddysey" were experienced later environments at both my studios, 712 Madison Avenue, New York, and Leverkusen, Germany's factory. Such "effective environments" were experienced "negatively" and painfully by me because of the repetitiveness and speed of circulation "as from above". The pain was beyond human endurance, achieved by such possible Machiavellian and mechanically designed spaces. Whether I was building my own investment, let's say, or that of other artists from ideas deriving from my own work or I was thrown at my own, "as a joke", perhaps, I don't know. I truly doubt that such "enclosed environments" could have possibly been "designed" as working art studio space for artists. I would appreciate to know their reason.

I fear that artists' contributions, or let's say, acknowledged artists' works like Guernica, Mademoiselle d'Avignon, or African sculpture by Picasso, as well as my own contribution, that with of course all modesty, were translated or interpreted nuclearly "by special analytical methods" that were experiences as chaotic. Of course my creativity and work of more than 20 years which "no doubt happened miraculously" had to be experiences as 'xeroxed' to glorify my anonymity.