Untitled. Robert Morris. 1965. Untitled. This is a mirror-box in a mirror-room.
It is best in the corners. A multiplicity of dimensions show us a crack in the seams of ontology.
When have we ever considered so many planes all at once? When we last stood in front of our mirrors, mending our desirability?
We find confrontation when the reflections abut in the corners.
We find in John Criscitello’s paintings a confrontation through confrontation between format and form. The visual tropes of commercial desirability - the comic strip, the money shot POV, the band poster - knowingly paired with what deeply should not be commercialized - queer hopes, frustrations and happiness.
It makes me rethink Robert Morris’ mirror cubes. They present many presentations of an image all at once. What’s more, a mirror makes these images by pulling in and implicating whatever surrounds it. A mirror cubes presents multiple planes at once; what implications do we find when so many sides of an image, that otherwise never meet, are presented simultaneously? I think I find this in Criscitello’s work, too. Except, in the two-dimentional, it is in the layering of subject matter and visual formats not native to one another.
And another connection to the mirror cubes. I am implicated in the image.