SCOTT LYALL, BLAKE RAYNE

“Surveying the art production of the 21st Century,what was clear was that the millennium has promoted a field of radicalhorizontalization and collaboro-collective experimentation. And why not?Networks are everywhere. Therefore, after accepting the invitation from1301PE, and acknowledging the gallery’s long-term commitment tomultiples, we came to the realization, ‘We too could collaborate!‘Thinking the possibilities of this expansive situation, the teamdetermined its rationale, and undertook to apply it.”

Whatbetter mode of collaborative demonstration than the poster. All of theworks collected for Rationalisme Applique exhibit postings. Thecentral collection of print works (Dirty Hands, all, 2010) are composedas a sequence of three distinctive printed layers: an ink-jetdispersion, monochrome silk-screened colors, and finally the applicationof a lithographic impression. Each ink-jet is the output of a jpegdepicting palm prints as a gestural play of shadows.1 The silk screensapplied on top of them express fidelity to bright colors; and eachlithograph is the mise-en-scene of a busy potter’s studio. Layered,they trace regressions along a path of de- abstraction. Paper mediatesbetween the pixel and the techniques of hardened cash.

Imagined,though, is a return to the material relation: to the print shop, thestreet poster, the port-a-pack, and the potter’s wheel. � chacun soncaf�.2 To each a show of Dirty Hands3. Can we speak ofcollaboration as the projection of this assembly? The palm grove as ashow of hands? A democracy for the China? The Gallery marks each postingas an individual element, but each occurs in a cast of doubles,appropriations, and ‘the multiple’. But, Yes: Rayne&Lyall note acompact of diversity in these perspectives. A liquid practice is onrotation. Representations affirm their signs.