拍品专文
'WELL, I DECIDED ON THE STRIPE GRADUALLY BECAUSE I CONSIDER IT TO BE ALMOST EVERYTHING, IN THE SENSE THAT IT'S A SHAPE AND IT'S EXTREMELY DIRECTIONAL. AS YOU WELL KNOW, IN CULTURES THAT DON'T PAINT PICTURES OF GOD, THE STRIPE IS BOUNTIFUL AND IT CONJURES UP PATTERNS AT THE SAME TIME SO YOU CAN MAKE IT INTO A WALL. YOU CAN MAKE IT INTO A SHAPE-IN OTHER WORDS, AN EVENT AND EVERYTHING IN BETWEEN. SO ON ONE END YOU HAVE GOT THE STRIPE AS A SUBSTITUTE FOR THE FIGURE AND AT THE OTHER END, IF YOU MULTIPLY IT ENOUGH AND REDUCE IT IN SCALE ENOUGH, YOU CAN MAKE IT INTO A PATTERN. YOU'VE GOT IN OTHER WORDS THE JOURNEY OF INDIVIDUALISM TO THE POSSIBLE COSMIC, ALL USING THE SAME UNIT. IF YOU TURN IT THE OTHER WAY, YOU HAVE THE HORIZON LINE AND OF COURSE IF YOU USE IT DIAGONAL YOU'VE GOT EVERYTHING IN BETWEEN'
(S. SCULLY IN CONVERSATION WITH B. KENNEDY, 5 NOVEMBER 2007, REPRODUCED IN B. KENNEDY, SEAN SCULLY: THE ART OF THE STRIPE, HANOVER 2008, P. 19).
(S. SCULLY IN CONVERSATION WITH B. KENNEDY, 5 NOVEMBER 2007, REPRODUCED IN B. KENNEDY, SEAN SCULLY: THE ART OF THE STRIPE, HANOVER 2008, P. 19).