We have managed again to love without contact, and, once again, we have accepted this interruption as we accept always and without hesitation, the depth, the dimmensions, and the grand scale of the panorama, of the visual experience that surround us. We have established, after all, the birth of an architecture, our architecture.
We realized, by further extending the productive complicity of our mutual feeling —of our topic—, that the totalizing elements of our relationship —of our uninterrupted topography— were indeed suspect themselves. After determining that this topography —in loving— is bound to the surface of a continuum, we searched far for proofs within the interstices of an unforgiving opening expecting, at last, to feel fully corresponded. Along the ruins of that separation, we found a profound sentiment that we should not resist.
Architectural space, as we have always understood it, opposes the claustrophilia that we have always preferred. Since then, we have faced an architectural opening with the emerging characteristics of antipathy and separation. Much more. We have witnessed a separation that continues the colonizing structures of the eye that function, as we already know, through a relentless enforcement of distance; the same distance that places us within the orthogonal requirement of our visual itch. We cannot forget where we place our objects of admiration. Should they be always that far away?
In the imminent approach, however, in the final meeting that we long for, there is no more room for visual recourse. Love, this close, is blind, and it collapses every expansion of the traditional space that surround us. It is from within the interior of this caving in, of this collapse, that we encounter the displacing and alienating dimension of this work.
Love Without Contact intends to provoke the superficial tension of architecture. With its inadequate and impenetrable measurements, this work attempts to find the minimal conditions present in architectural space.
Entering the gallery, one is confronted by a radical modification of its structure. The left and right walls of the gallery are moved forward toward each other leaving only a very narrow and impenetrable exposition space. The momentum expressed by these extreme conditions is stopped only to give sufficient room for hanging two large paintings, and to allow their surfaces, face to face, to be viewed as almost touching.