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October 2, 2002 - April 15, 2003 Artist Statement As a child, I was obsessed with monsters. I found the clash between them and the humans, which inevitably ended in total mayhem and mass destruction, endlessly fascinating. But whether it was Godzilla, Frankenstein of The Golem, I somehow inherently knew that these monsters were not really evil. I knew that the clash was based on a simple misunderstanding and if we would just make the effort to understand each other, everything would be okay. It was the tragedy that engrossed me. It wasn't until my teenage years that I began to understand the analogous relationship between the monster movies of the 1950's and The Cold War. And it wasn't long after that that I realized that this symbiotic relationship has always existed and will continue to exist forever. Regardless of your colour or creed, your religious or political affiliation, your musical or artistic tastes - your own, tightly contained orbit threatens the others in its immediate proximity. Infinitely Intersecting Orbits creates a visual abstraction of this timeless relationship. The orbits, when paired, form an invisible infinity sign. The grid that they are laid out upon extends infinitely in all directions, implying an infinite amount of infinities. Whether demarcating squares on a sidewalk, rooms in a building or provinces in a country, each square in each grid is capable of encapsulating an entire universe. Grids, orbits and infinity signs represent certain types of perfection. No mater how each fulcrum point is defined, so many tightly spaced and rapidly spinning universes promise only that these orbits will eventually, one day - collide. In the case of Infinitely Intersecting Orbits, the built-in collisions allude to the fact that failure is an inevitable and indispensable part of perfection. Charles Goldman,
Infinitely Intersecting Orbits, 2002; 15 poles, each 10' high;
steel, rope, rubber, concrete.
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