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14. The work is all on the side of life. It is about how it feels to be alive. Conditions of natural existence, imitated, reenacted, celebrated. [[insertion]] Abstract [[/insertion]] Thought is treated lightly, sometimes, as an amusing irrelevance to physical existence - hence [[strikethrough]] my [[/strikethrough]] [[insertion]] the [[/insertion]] impression [[insertion]] I give [[/insertion]] of not being "serious" enough. Violence is a condition of Nature. The conflict between the [[strikethrough]]a[[/strikethrough]][[insertion]]non[[/insertion]]morality of nature and the morality of speculation is a subject - wish fulfillment vs. nature. The work seeks always to be alive + the artist to create life.
Concept is anti-life. The bedroom ensemble is a tomb because it expresses an obsession with geometry, idealism vs. the true function of the bedroom. Death in the work is the presence of a natural condition. It is always present - its occurrence is unpredictable, its nature incomprehensible. The presence of death defines life. Many of the objects symbolize death in order to keep death away. My thinking is primitive + superstitious, something I dont find at odds with contemporaneousness.
Death is both threatening and desirable. All life is infatuated with its own destruction, consumption - that is the conceptualization of natural fact. Death is metamorphosis, change, reconstitution. No work that leaves out Death is about Nature. I often say the subject of my work is Death, which is the same as saying the subject of my work is life. 
I suppose I am against living death - rationalism (which is anti- the organic growth of fantasy), repression, or any form of obstacle to nature (conditioned by a strong sense of what's practical). Basically romantic. Natural death is idealized, as in Böcklin, Death is a sublime concept - or, the brooding on the infinite. 
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