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The Statement,                                                                                                       4th March 2013

The Studio.




Re: Although your current work seems pointless this will probably change in time.


Dear Statement,


I’m writing to let you know that I think it’s better we stop contacting each other for the foreseeable future. I know you have been busy and that you have had many things on your mind but I have to say recently, I feel a widening gap has opened up between us. I thought in the past, (and I know we have had our ups and downs) that there were enough common interests between you and I to keep us plodding along. Lately I feel like you are off doing your own thing ninety percent of the time; what was and should be a working relationship has splintered into something I hadn’t foreseen.


I would like to take few moments to spell a few things out.

One thing which really has bothered me; is how keen you have been to run off reading fictional texts from 1920’s and 1970’s, to watch 70’s TV series at random, attend plays in the evening time, to consult archivists, archaeologists and scientists adlib.


Does it ever occur to you that sometimes I would like to take part in these activities and maybe even contribute? I mean it doesn’t have to be much – I can doodle on the sidelines.

One thing I must make very clear and one of the MAIN REASONS why I have been upset with you – over the past few months, is that I do not intend to illustrate your thoughts at any given whim. I cannot follow your erratic choices and interests, which seem to me to change pace at the frequency of weather. This sporadic chain of thoughts is making it extremely difficult for me to locate myself in any sense and at this stage I feel like I am embroiled in some kind of part-fictional project.


I am also uncertain about your choices in camera angles, format and editing. It feels discombobulated and I intend to counter this at my own discretion.


I am uneasy about all the above and I await your response to discuss the matter more clearly. I do not want to tailspin into some kind of existentialist crisis so I insist we meet and you kindly place more cards on the table.

It is unfair how you continue to pile notes on my desk, which I am supposed to digest and come up with some kind of creative solution. I also intensely disliked those Beckett pieces and none of the material has helped me in any way.


If you are so interested in a kind of fictional technology, then please be assured of my commitment to the aforementioned.

It was always my intention to follow some kind of narrative, even if you are totally preoccupied with ideas pertaining to psychogeography and the cinematic essay.


Kind regards,


The work




The Statement,                                                                                    12th March 2013

The Studio.


Re: Although your current work seems pointless this will probably change in time.


Dear Statement,


What do you mean you lost the artist?

Did you take him to a department store or a library? Did you leave him sitting in the corner reading Thomas Pychons “Gravity’s rainbow”?

You know you shouldn’t do that. He is only a small artist in a big world.

He could run out on the road and get hit by a car, he isn’t aware of how dangerous the world is. He could get talking to a curator and then decide to go with them.


You should be more careful with the artist. I shouldn’t have left you in charge. What kind of Statement are you to lose the artist? He was feeling so poorly. He was feeling so sad. I was doing everything in my power to keep him entertained. But nothing seemed to be working. And now you have lost him.

If you continue to lose him, we will both discontinue to have any purpose at all.


Did you try and fill his head with nonsense? I think you need to stop giving him those books, if you ever find him, that is. I don’t think it was a good idea to expose him to so many strange pieces of fictional texts. He had turned such a white shade of pale in recent months and his fingers were such a yellowy hue.


Have you been taking him to exhibition openings again? You know he hates exhibition openings. The last time you took that exhibition opening he was so upset. He threw a Peroni over that arrogant man and that lady dressed all in black from Cos. He also threw a Peroni over that girl with the short-cropped hair who was speaking too fast. I’ m glad he threw the drink over her. I felt it was well deserved.


Did you tell him off about watering the plants again? If this is true, then I think this is unfair to the artist. It’s not his fault that the plants were dying. He is only a small artist. Did you take him for enough walks? He needs air.

I hope you made sure to take him for walks. He needs regular light and had been muttering about the dark.


Did you make sure and feed the artist? Did you make sure to switch him on and did you also remember to turn him off? If you didn’t make sure to turn him off then I think it’s pretty likely that he may catch fire and perhaps this is why you lost him. Artists spontaneously combust all the time.



Kind regards,


The work




The Statement,                                                                                    18th March 2013

The Studio.


Re: Although your current work seems pointless this will probably change in time.


Dear Statement,


Are you sure you are looking in the right places? Did you check his browser history?


He has been talking about going home a lot lately.

Artists talk about going home a lot when they are near death.

Also artists often leave their owners and go to die on their own,

which may be why you have lost the artist.

Perhaps it is worth checking with local farmers to insure that he hasn’t been found in any neighbouring fields.


Did you try and keep the artist in a confined space?

Did you try and contain him in unnatural surroundings?

Artists need to be in their natural habitat.

So if you tried to keep him in an unnatural environment,

this could also have been why you lost him.


Did you try and make the artist draw anything?

You know you are never supposed to make an artist draw anything if he does not

want to.

Did you buy him art materials?

Did you purchase large amounts of plaster of paris? Or wood? Or sticks?

I hope you did not purchase him sticks.



Kind regards,


The work




The Statement,                                                                                    22nd March 2013

The Studio.


Re: Although your current work seems pointless this will probably change in time.


Dear Statement,

I am very worried that you tried to enrol the artist in a film-course.

Did you try and enrol the artist in a film course again?

You know he does not want to be enrolled in a film course.

Did you try and make the artist get a job? He does not want a job.


Did you let the artist overhear our conversations?

You are definitely not supposed to let the artist overhear our conversations.

That could be extremely dangerous.


Did you ask the artist to pay rent? Or make a sandwich?

Did you feed him hallucinogenic substances?

Did you feed him hallucinogenic substances and try to make him draw and remind him to pay his rent?

If you did then this is highly questionable behaviour. I think you are blaming him for the circumstances whereby you become the statement.

He was not in a state of existential crisis until you started acting so peculiarly. You should not have taken him to see those Beckett pieces at the Theatre.

He was acting very strangely when he came to the studio afterward.

He told me he is frightened of the dark.

I knew this already and suspect that you knew too. He was shaking after seeing “Not I”. You should not have taken him to see a play,

which is largely set all in the dark.

Kind regards,

The work