...part of a series of an original that never existed...

[The following file is, as you will see, from a printed Proposal sent in
1984 to dozens of art galleries primarily in North America. It is of some
interest as it espouses and enacts a method for the creation of a great
life-enhancing narrative, full of situationist-drift and revision. There
was marginal financial, political and critical support for this project at
the time. The various series of art-objects are occasionally altered but
they usually remain sequestered in beautiful cork-lined, shellacked,
plywood boxes. If you have any questions/comments they can be directed to
Brad Brace, SE Belmont Street, Portland, Oregon 97214-2821 USA.

		*** M E T A C O N S T R U C T

	(Art-objects carry their own space
	The corporate-interior is its own image
	Tattoos all ablaze)

An open letter to the Gallery Curator/Selection Committee:

	Having no commercial or institutional representation, (an unusual
choice these days) I am writing to you directly with the hope of procuring
an Installation engagement in the Gallery at your earliest convenience.
You are welcome to retain this promotional material as long as required.
	Included are a resume, documentation, imagery, and texts which I
feel most effectively re-presents the intentions of the Work. There are no
slides! The use of conventional slide documentation would either
obliterate the intentions of the Work or would merely serve as a
temporary refuttal of the convention.
	The documentation that I have chosen to employ consists of reduced
xeroxed/photographic details, or stills from (thus far) eleven
interdependent installations occurring over the last few years. These
amalgamated details enable the viewer to reconstruct for his/herself the
`metafictional' conditions of the total installations. (While the Gallery
allows an emergence of a potential poetic structure, each gallery is
architecturally and historically specific; but at a given point in time is
also socially deemed to be the equivalent of any other gallery. The
installations chart a course through a infinite series of art galleries.)
The method (in retrospect) whereby one Installation (any exhibition is an
installation) is seen to collapse into the remains of the others (hence
the intermingling and juxtaposition of various photographic fragments in
the documentation) is not unlike the method (means) I employ to arrive at
a subsequent installation (in this case, the twelfth).
	At any time, the `work itself' can be understood to consist of
varying quantities, (positionings/juxtapositions), and inclusions from a
number of installation Components. The number of available Components has
gradually increased, and each is subject to continual re-vision,
reassessment, and modification as required. The specificity of their
inclusion within (and as a part of) the confines of a particular
gallery-space provides an elucid, poetic, encapsulation of the Present.
(And in so doing, suggests for me, future alterations and additions to
the Components.)
	Appropriate written descriptions of the Components are included
herewith. Some pictorial sense of their past qualities may also be gleaned
from the enclosed fragmentary photographic documentation; but only at the
peril of understanding an imaginary present exclusively in terms of the
past. And yet, this all-too-human condition is also perhaps, an adequate
definition of Poetry. How else can we know who we are? Certainly we cannot
continue to afford to exclusively relegate this essential basic need to
the vulgarities of a stifled marketplace and the maddening certainty of a
technocracy. The inflated price of such a reversal of fortune is high. It
is no less than a nurtured trust in individuals over the singular
homogeneity of an eclipsed Modernist culture. 

	The Work will continue in any event, but I hope you are able to
afford me with the opportunity and some financial means (it is of course
essential that I am present to install the work) to construct a specific
realization at the Gallery in the all-too-distant future. I think you`ll
see that I cannot provide you in advance with a specific itemization or
description of the proposed installation. It would necessarily be
inaccurate and improbable on a number of counts. I can only indicate what
the work has been by means of this proposal and trust that you will find
the material interesting enough to allow the work to continue in the
direction of your gallery. If your response is positive please inform me
of the future dates of the installation, send a contract, and provide a
floorplan and photographs of the exhibition space. I will provide a Title
and if required, a short text, in time to meet any publication deadlines.
An allowance of at least 3-4 days is required for the installation proper.
An agreement concerning  accommodation arrangements, transportation costs,
artist fee, and printing costs for the mailer/invitation can be reached
based on the resources of the gallery and art agencies.
	This proposal is perhaps unavoidably and appropriately slanted
towards the empirical nature of the Work and its re-presentation in its
present form. The poetic and whimsical nature of the Work is equally
prevalent at the actual time of the realized installation . I trust that
you will have adequate time to peruse the following pages and can lend
your support to this endeavor. 


Brad Brace.
November 13, 1984

[ All the following components still exist. They are housed in cork-lined,
shellacked, plywood boxes situated in various Public Storage facilities.
Occasionally I make alterations, some day there may be an invitation for a
formal exhibition. The following descriptions are unencumbered by
punctuation and standard capitalizations.]


(a) STICKS The Sticks speak for themselves
Whittled eight foot lengths of Pine An atavism of Painted Plank Ptgs and
photographed Verticals Currently painted a high gloss Black Displayed in a
near vertical position Single Corner Cluster Evenly Spaced Sporadic
increase in quantity To be joined by Greys Yellow and White Sea Gull Non
Signifying Objects The periods of the Immediate Past

(b) NUMERALS Charred Western Red Cedar 1 2 3 4 5
6 7 8 9 0 Accidentally break forming additional fragments Take from all
things their number and all shall perish The cessation of Time The
consumption of ordering systems

(c) COGNIZANCE Stencils derived from the predivided Frontal Image
paintings Flat grey primer spray paint on gallery walls and Ground Tone
Cardinal Afterimage How societies represent themselves and are themselves
shaped by these representations Causitive Formation Morphokineticism De
divina proportione

(d) GROUND TONE Usually requires about a gallon of semi gloss latex
applied to the gallery walls A singular subjective colour Tecnica di

(e) FRONTAL IMAGE PAINTINGS Basic Forms Extracted Selves Mirrored Identities Cut
plywood forms derived from various Aspects of anthropometric area bounded
for example by edges of jacket and neckline An Identity reduced to an
implicit perspective Repeatedly painted Oil base Years allowing the paint
to shift slightly before drying Slightly Concave Varying in scale and
actual shape Small gelatin fish lie in the surfaces Were vertically
divided in Two and rejoined with Other sections Janus Destiny Receive a
specific painting treatment for a particular installation Eventually cast
in glass A fish devoid of memory incapable of thought Aquarium He once
painted a portrait of Vollard the Paris art dealer It required 115
sittings and when it was finished Cezanne said The front of the shirt
isn`t bad

(f) TRELLII Dead Branches Fountain Originally a trellis with the
horizontal members removed A flexible template occasioning ebony pencil
and turpentine drawings on gallery walls Wing Now also as six models Fir
pine and redwood White prime finish Commercial Green Enamel i Fan Flair 24
pieces 116 flat brass screws ii Windmill 45 pieces 186 flat brass screws
iii Diamond X 31 pieces 126 flat brass screws iv Flair 16 pieces 64 flat
brass crews v Colonial Wider Stock 19 pieces 72 flat brass screws vi
Georgian Wider Stock 20 pieces 74 flat brass screws Equations of Time
Reverse equations of Space

(g) PICTURES First comprised of scattered but
systematically related white shapes laminated on clear plexiglass
rectangles Small pictorial spectres A little fragment borrowed from the
truth throughout the shapes are provided with an edge from very thin coats
of white plaster which extend to provide each white shape with its own
sense of directive surface which is further enhanced by the thin plastic
lamination Simulated White Age Building around the first impressions The
Momentum of Inertia Next in the form of long tall picture columns
embodying several systems pale blue shapes on silver aluminum painted
black paper To isolate and excessively schematize the moment of
intellectual abstraction With further passage of time once familiar scenes
flattened out Graphic Arts Term of Close Cutting elimination of background

(h) HOOKS Silver Coat Hooks Ectoplasm

(i) PROJECTIONS Projected Dominoes Carousels of eighty one 35mm
transparencies Prophetic or sacred malady i Blue Universal Film Leader Two
frames per mount ii White Uniforms Chronic
and thus destined to continue Ends with the death of the patient The
sacrifice and consecration of the self for those who come after iii Glassware and Circular Mirrors

(j) OTHERS Trace elements Residual items subject to subsequent
incorporation Small Used Landscapes Conch shells Gleaming Tusks Dominoes
et al

(k) VISIONS Speculative factors Spruce parting strips painted alternately
in shifting white and black bars Course of Events House of Formation White
Plastic Domes WhiteBlack painted triangles Mounted on blue moulding with
fringe Saw tooth picture hangers I could see that happening Beyond
intentions to fallacies or failings Involuntary Memory Next inset in
longer wider sections of mouldings Be that as it may Possibly combined
with Landscapes

(l) CENTREPIECES Double Standards Also with spruce parting strips painted
alternately With inserted broken cross pieces Hands and blades all black
and white Bulls fighting and a man hunting boars in a thicket Integrated
on spiral sections or mounted on a high gloss yellow textured lozenge boat
shape in progress Standards Vertebrae Conjunctions chandelier Totem
Erections The Reversibility of Events

(m) LIGHTS Umbilical cords Serpents Existing gallery fixtures are not
employed A string of Incandescent lights Hanging Sockets Temporary indoor
outdoor lighting Construction Patio Used Car A series of vacuums Tightly
wrapped with #4 Butchers Twine Blue Flood Light Stream of absent minded
thoughts Vergil A yellow flickering flame in a garage lamp

(n) THE PROLIFERATION Marble off-cuts Clear glass marbles Speech (And the
possibility of Fiction To be published) 

(o) HIGH GLOSS QUARTERS Seven Seas Panels Originally an eight foot square
plywood studio table top cut into Eight approximate Quarters Edges are
rounded Carry a smooth substantial surface of Flecto varathane Plastic Enamel Colours The Tomorrow
Finish Currently have flat white stencil anamorphoric images of a clown
face Aura splayed across the surface Previously leaned against walls now
in the form of very low small tables 4inch orbit 2 position Furniture Legs
Some panels are to be repainted and a new stencil image applied Polar Bear
Head Rear Leaping Tiger Half Flame Parrot

(p) HORIZON Derived from the 1979 exhibition Catch A blue snapped chalk
line which horizontally divides the gallery inhalf Perimeter The line
begins and ends from the midpoint of the greatest vertical rise in the
installation space This site of no return when the escape velocity is
equal to that of light is called the event horizon It forms a one way
membrane around the collapsing matter allowing things in but not out

(q) VOICES & BELL Pretransitor Radio Local?  Rudimentary culture The
mechanization of post literate acoustic space

(r) EFFIGIES Tomato cages Martyr Turquoise shimmey Geo-synchronist orbits
Immaculate conceptions Conjectures Objective Correlate Impersonations
Trans Figuring Figuration Derived from truncated Frontal Images El Greco
Dynamic Metallic Copper Leaf Finish Paint Urethane Finish Blue Incised
Enamel Lines Flat Black Varathane Triangular Shaped Masonite te Three
Triangular Cuts Bound in Copper Magnet Wire Accumulates Imagines Masks
Ancestors The closing days of the Saturnalia The negative moment of a
Tendency The mystique of purity

(s) TELEVISUAL SCULPTURE And Drapery Fabric of Reality Blue Painted Wood
Construct In the Wake of Codes Collective Amnesia The essential absence of
subject A distilled absence of memory In Progress Television as travelling
medicine show Inhalations Steps (as across sound-stage)

(t) MELANCHOLY A future component Saturn and Moons Photo Reproduction As
eight large ellipsi paintings Constellations Celestial Bodies Ceremonial
Drums A goat skin stretched over a hollow log becomes a living membrane
for the ancestral voices

(u) ELECTRO MECHANICAL CONTRIVANCES Mechanisms for Disbelief Interventions
Mitigating Circumstances i Fall red braided hair spinning from point on
the ceiling The taste for action for actionÕs sake the dynamism inherent
in the very idea of movement can in fact drive itself beyond the point of
control by any convention or reservation ii Fear a suspended rattling
teacup iii Fan sky blue sky nine inch Boxer fan Nihilistic Moment Obscure
Self Ruin The terror of balance The balance of terror

(v) LANDSCAPES Formerly Paradise Panels Originally eight four by eight
tempered masonite panels Could form one large tropical photoreproduction
Initially a backdrop for the Sticks Then in the forms of a few hundred
long rectangular panels Currently the panels
are cut into arched shapes The bottom dimension remains linear while the
arc itself is cut along a freehand line Now assembled tripled up with
keystone Drilled domino eye configurations and joins are filled with putty
Worked into highly detailed oil painti Wall mounted with Brass Tentor
Hooks The sky panels are lost Proscenium Aquaduct Distant Detail
Phenomenologically Picturesque Distant Hills Oasis South Seas Unknown
Territory Unoccupied Future

(w) DECOYS ANCHORS BRIDGES In progress Cut filed sanded pine plywood
constructions Shelved up close to ceiling or positioned on gallery floor
at interstices of projected grid Tooth Miracle prodigy and portent Cones
Cast aluminum castings of pine cones Scale Clock weight Rectangle of the
Whirling Squares Pineal gland

(October 1984)

	Photographic Details
	Records of Existence
	Mnemonic Aids 

[There are approximately two-thousand 35mm images from these installations. If there is
interest, they may be scanned into a WWW database or hypercard-stack
environment. Some individual images make intriguing b/w grainy posters.]



.i	REMUDA		Eye Level Gallery, 1672 Barrington Street,
			Halifax, Nova Scotia.  1981

.ii	D'ACCORD 	Anna Leonowens Gallery, 1889 Granville Street,
			Halifax, Nova Scotia.  1981

.iii	CARNIVALE 	Mercer-Union Gallery, 29 Mercer Street,
			Toronto, Ontario.  1981

.iv	FLURRY		Great George Street Gallery, 88 Great George
			Street, Charlottetown, P.E.I.  1982

.v	CADENZA		Centre for Art Tapes Gallery, 1671 Argyle Street,
			Halifax, Nova Scotia.  1982

.vi	IOTA		Eye Level Gallery, 1585 Barrington Street,
			Halifax, Nova Scotia.  1982

.vii	RENT		YYZ Gallery, 116 Spadina Avenue
			Toronto, Ontario.  1983

.viii	SAVA		Off Centre Centre Gallery, 118 8th Avenue S.E.,
			Calgary, Alberta.  1983

.ix	KNOX		Plug/In Gallery, 175 McDermot Avenue,
			Winnipeg, Manitoba.  1983

.x	L'AURA		Struts Gallery, 11 West Main Street,
			Sackville, New Brunswick.  1984

.xi	INFINITO 	A.K.A. Gallery, 813B Broadway Avenue,
			Saskatoon, Saskatchewan.  1984

[ Two subsequent installations took place in Ottawa, Ontario, 1985 and
Windsor, Ontario, 1986. ]

**Kurt Schwitters: Merzbau (detail), in his
own home in Hannover, started about
1924, destroyed in World War II.


An idealistic striving toward a paradoxical and improbable classicism. 

At any time, the Work consists of a number of Components which are subject
to Continual re-vision, reassesssment, and modification so as to encourage
a Synthesis of these essentially dissimilar Components (possessing
conceivably individual histories) with in a theoretical shell of an
Archetypal Exhibition: As Single Entity. 

Nomadic Distributions. Consecrated Anarchy. Far from being a new
foundation, it swallows up all foundations, it assures a universal
collapse but as a positive and joyous event. The power of Affirming Chaos,
Divergence, and Decentring. Heterogeneous series (`complicating' within
itself all series). Continually eccentric circle with a constantly
decentred centre. 

The nonhierarchical work is a condensation of coexistences, a simultaneity
of events. Identity persists, but it is produced as the law that
complicates all series, causing them to return within each one as the
course of compulsion. 

The Work has sought to be a product of the manners and places in which it
is seen. 

The speculator is playing a mathematical game into a set of random events. 

An Insatiable project, endlessly producing and consuming `systems',
metaphorhaunted classifications of an ultimately opaque reality. 

The set of objects the gallery displays is sustained only by the fiction
that they somehow constitute a coherent representational universe. The
fiction is that a repeated metonymic displacement of fragment for
totality, object to label, series of objects to series of labels, can
still produce a representation which is somehow adequate to a
nonlinguistic universe. Such a fiction is the result of an uncritical
belief in the notion that ordering and classifying, that is to say, the
spatial juxtaposition of fragments, can produce a representational
understanding of the world. 

Ideally these Interdependent Installations can chart the course of the
cultural Mould in today`s Age of Scandal, Strategy, Style, and Social
Reform; bearing witness to the current Generalized Cultural Implosion
which heralds Schizophrenia as the new Emancipatory  Principle. A Shared

Thus its validity is limited to generalized unstable orientations,
cultural situations more in potential than in execution, to tendencies in
a fluid or raw state. 

The role of the Exhibition is Speculative and is an engaging Intrusion
into the Systemic development of Constructed ideas. 

A matter of different and divergent narratives, as though to each point of
view there corresponded an absolutely distinct landscape. 

``For a long time I`ve prided myself on possessing all possible landscapes
and I`ve thought the fame of modern poetry and painting laughable.''

The tragedy of desire is that it must perpetually seek without
satisfaction and ultimately can desire only itself. Desire`s desire for
itself is in the space between the subject`s eye and the object of
excitation. This voyeurist distance symbolically and spatially evokes the
fundamental rent of the self. 

Thus, the dialectic of Components is transformed into a system of almost
metaphysical relations. Such a system, even though it is only an effect or
product, is transmitted in turn to a cause, and then exercises on the
conditions generating it an influence both formative and deforming. It
becomes a dogma and a mystique, transforming avant garde praxis into
principle and doctrine. 

  ``You may seek it with thimbles -- and seek it with care;
   You may hunt it with forks and hope;
  You may threaten its life with a railway-share;
   You may charm it with smiles and soap--''

In recent years, accumulating data have firmly shown that one key mental
faculty, called crystallized intelligence, continues to rise over the life
span. Crystallized intelligence is a person`s ability to use accumulated
bodies of general information to make judgements and solve problems. 

The public that understands is not formed within a socially or
intellectually privileged order, the unique repository of knowledge and
taste, but away from any centre, an almost unforeseeable diaspora of
isolated intelligences. 

Japanese scientists have recorded phenoma which indicate elementary
particles such as protons, which some scientists say exist forever,
disintegrate into smaller particles. 

Within these basic series a sort of internal reverberation is produced, a
resonance that induces a forced movement that overflows the series

In a so-called open universe, everything will just expand forever. 

The symbolic interventions of the avant-garde now represent neither the
refusal nor any critique of reality, but are used to represent that
reality as a dislocated complex of free-floating signifiers. 

This is art as a collision and a cry, which searches among the facts for
the point of fracture and boundary, for the point where the fury of the
individual crosses into history and the social realms in opposition to and
criticism of the monstrous universe of conformity. 

And so Culture is everywhere, since artifice encompasses the very heart of
reality. And so Culture is as good as dead (Post Modern) not only because
its critical transcendence is gone, but because reality itself, entirely
impregnated by an aesthetic which is inseparable from its own structure,
has been confused with its own image. Reality no longer has the time to
take on the appearance of reality.