It was six o'clock in the morning when I started collecting clocks, and now it's 9:37. 10:37. I mean it's 10:00cm. These clocks are all wrong. Time is spilling out of them and getting everything. . . getting everything. . . that word when the clothes are on the floor and crumbs are in your bed and you've spilled wine and yelled at George.
Two sides of what used to be one wooden box hang on the walls of the Smart Gallery in Chicago. At first glance they are unremarkable: vaguely Italian-looking landscapes populated by two vaguely Italian-looking lovers, all flowing hair and slit silk. In the panel on the left, a woman lies improbably across some rocky ground—perhaps sleeping or dead—while a man leans on his staff and peers over her with a neutral expression. In the panel on the right, in front of a section of silvery sea, the same woman stands apart from the man who reaches toward her. His mouth is open. Her hands cross upwards into two woody stems and blossom into the unmistakable broccoli-floret silhouette of a tree: Daphne, turning into a laurel to escape the god Apollo.