Is which, but billiga michael kors klockor J poses a question about some other chance. We know that this wall will not remain this or that color. We understand that the walls will return to their unobtrusive condition, the seamless and billiga chanel väskor homogenous space that we know as gallery. J asks what is portray to be? Is it the painted rectangle or is it the glass rectangle over a portray? Is the wall painting background and is it second to the painting. Are the little paintings ralph lauren outlet sverige total when the wall painting no lengthier accompanies them? And because J paints on the reverse aspect of the 'support' and therefore we believe of the image in the painting concurrently as rightway spherical and in reverse, J positions his portray as an in between state, concurrently verifying and questioning what portray billiga nike free run dam can be. Every concept hovers for a moment in between being some thing, or becoming nothing. In recognizing this we inquire ourselves in our considering if we should dismiss the glimpse we may have had of a conception or delve much more deeply into thought and permit it to become? This is the question J poses when he asks himself 'can this be a portray?'1 In approaching J work and thinking about it nike free run sverige as a sequence of times, ideas or thoughts that may be, we comprehend that his stratagem is not 1 of complete conceptions, but rather is more concerned with the fluid and varied character of believed within the preoccupation of thinking via portray. The stringent formalist pursuit of a vision that is distinct and precise that has defined a particular tradition of abstraction doesn't function in these paintings. J paintings are not about arriving at a summary. They are akin to a damaged kaleidescope that, with every flip of the wheel, allows the glitter and the beads to type and reform themselves with progressively more abandon. These paintings are suggestions about paintings. Painting on glass requires a reversal of thought. Because we can see via the painting from behind, the conventional process of working in the direction of an picture is not feasible. The concept that a mistake can be painted out or concealed beneath an additional layer of paint does not work. In these paintings the initial is also the last layer of paint. The leading is also the bottom. It is therefore impossible to see these paintings as some thing easy. We are seduced by their elegance and then denied access to their content. Held at arms size behind the glass we have no choice but to appear, and to look and to look. Gazing further and viewing more. At what point then do we see the nothingness in these pictures? Jolted out of our reverie by the reflection on the glass of a movement behind us, we turn about to appear out from the painting and into the painted room. Searching back at the surface area we return with a shock to their slightness: they are after all