Galerie Enrico Navarra

elieved in a world entirelywould be consumed and their deathThey believed resolutely that theylife was merely a function of shelter andcreated by their own wills, in whichinevitable. They lived for that momentwere contributing to the most ambitiousheight. As the highest elevations werenature's realities were of little concern.alone. After a collapse survivors wouldmonument ever conceived by man.reached, and fewer and fewer laborersTheir dwelling formed an ascendingbegin a new, tracing out the tremendousTheir assurance was confirmed bywere needed to continue, large groupsspiral-with the past, constantly buried,spiral on the earth's surface. At thebadges of merit and honors given to thewere sacrificed, jumping voluntarily fromserving as a building material for theperiphery they built a house. The detritusvarious work forces. Visitors from thethe forward edge of the structure in thefuture. They obsessively gambled withof life gradually deposited in front of itspiral-cities compared progress withcentral well giving their bodies to the tasktheir resources, the number ofproviding the base for the next dwelling.their own and were filled with immenseof pushing the edifice higher. [. .. } C. S.inhabitants, the height of the structure.As time passed a ramp was thrown up,pride at their accomplishments.As the dwelling grew higher, it buried thethe rate of incline planned to bringThe monument relentlessly consumed allcultivatable land. As it grew, lessthem to the highest possible point at thematerial goods. Property had importanceand less workers were needed for itscenter of spiral. [. .. }only as it related to the construction.construction.were for the most part optimistic.Objects no longer useful were by lawaspired towards an ecstatic death.Although the construction required hardcontributed to the pile of debris at the frontTheir goal was to achieve both thework and sacrifice, they labored happilyof the dwelling. No personal possessionsgreatest poss1ble height and to predictknowing that the mathematician'swere allowed, no artifacts or keepsakes,the very moment of collapse, thepredictions were finer, their dwellingno objects of art, no religious figures,moment when the last of their resourcesplace higher, their lives nearer the climax.no personal or communal decoration;Ritual Garden no 9, 1978 Ritual Garden No. 9, 1978Argile et bois10 x 76,2 x 76,2 emCollection Eileen Rosenau, Bryn Mawr,PennsylvanieClay and wood3 11112 x 30 x 30 inchesCollection Eileen Rosenau, Bryn Mawr,Pennsylvania35