||since late 1987 stephen bram has been working on
a specialised project. making works, paintings mostly,
but also drawings, wall paintings, architecture, installation, neon lights and film
which refer to two, sometimes three, points in space.
the positions of these points are chosen carefully in relation to the works,
but randomly in relation to the world at large.
they are usually outside the
nominal boundaries of the work, and sometimes
located outside the rooms in which the work is
although part of the theme of this project concerns the
(perspectival) method by which the work refers and the implications of this method, the overriding
intention of the work is to repeatedly present and stage a specific relationship between the work
and the world.
the work is geometric, formal.
but at the same time refers outside itself,
to the world which formalism disbars.
the work contains no subject matter or specific reference.
every work uses the same method and presents the same relationships.
with this method, the work refers indexically, by indication,
just as a pointing finger does.
the reference the work makes is a matter of fact.
the referents of each work, although specific, have no identity, no qualities
or characteristics which could differentiate them from infinitely many other
so, on the one hand, the work is not about nothing, or about itself,
as some artists claim of their work, and as critics of formalism claim
of abstraction generally. on the other hand it deliberately avoids
being about anything specific.
its referent is not (itself) of interest.
it is not possible for it to be of interest; it has no
the work is about “being about”.
all of the possible thought, and feeling, all the possible value of the meanings evacuated from the
work, by its
renunciation of any specific reference is directed to the (otherwise inaccessible) phenomena of
meaning, and the processes of its attribution, themselves.