1. Michael Joyce:     The writer collaborating with the visual artist is nowadays so commonplace that its repertoire of gestures seems clichéd, its vocabulary an echo. On the other hand it is nothing less than an obvious and necessary recognition. In our time the image text is inextricably linked, the cupola only a silence, sans and, slash or hyphen's stitch, an unvocalized breath. Image text.     Yet even this admission, this suture of exhalation in place of the explicit connection, seems an attempt to rob the image syntactically. Image text hangs in the air (or ear) as a kind of text; and the inversion- text image- only relocates the word from pleine air to the enframement.     What shall we do then when we have no choice but to fail? This, at least, is a shared advantage, a shared vantage, of image and text alike and un-alike, different and differing. What we can do, all we can ever do, is to parse the difference, not seeking the roots of difference but, Deleuzian Andalusian, slicing the eyes of the rhizomic potato (a congenial image for an American-Irish yet probably too fundamental, too loamy, for the everyday Deleuzian who thinks instead of gingerroots or dahlias).

Alexandra Grant Drawings without paper, detail, 2001 Wire, paint and shadow in installation