In the Witch House representation and material face each other in dramatic stand-off. Material is assaulted by representation’s desire to cancel it out in the silky seamless glamour of illusionism. Material has nonetheless its own defence through its insistent tactile presence.
In the Witch House intention is drowned out by the roar of cosmic winds. Physics and temporal flows map out the body’s rhythms, representation becomes othered to itself. Negated.
In the Witch House words float and slide, meaning melts away while figuration dances counter to clockwork time. Indeterminacy produces a different space, a new geometry, that is as precarious and fragile as that of the Emerald Tablet.