It also takes a lot of effort and thought to keep all of those floating points together, and is easy to let them slip into their own, discrete areas. two horses does a good job of tying things down.

Charley Ray uses a massive amount of literal weight in an attempt to press the distant distant past and the present together. In doing so, in making something monumental, it even attempts to incorporate and carry into the future.

They are not fixed points at the beginning of the line of progress. They carry aesthetic value right up to today, and embody the timelessness of art (the infinite image).

It looks old, but is new. It’s a slab of material made from newborn earth, combined with some advanced technology. Hopefully, these distances being brought into close proximity can show that “ancient art,” like old mesopotamian and egyptian reliefs, are not isolated flash points ...

“juxtaposition” always one of those words i kinda disdain but that is also so perfect for its #use-case

Maybe it’s through simplicity that so much is conveyed and felt by things like Two Horses. I think it’s less about the simplicity of form, and more about the tensions, contrasts, and juxtapositions that you’re confronted with while looking at it.