The original paintings are immediately recognizable, but it is the overlooked or
imperceptible details of the complex surface, the tactility of the paint, the brushstrokes and the pattern of the canvas that Longo has made visible in his translation from color to black and white, paint to charcoal.
Otherwise -
imperceptible details emerge: the decay of the driftwood, liver spots creeping up the hand, insect damage to the seemingly lush potted plant.
Not exact matches
i suppose it's possible that some deity exists without anybody being able to perceive it, but having an entire worldview hinge on this possibility seems reckless, especially when we attribute a bunch of specific claims,
details and an ever - evolving incredible story to this purportedly
imperceptible being.
At times the
details are so minute as to be
imperceptible to the naked eye, and the pictures seem to burst with latent narratives.