​Blue is color. Blues are conditions, Saphire-Blue in the Zohar holds everything together. Blue is deep space, heart-talk and infinite, always returning without end. Blues color everything, they impregnate. Blues are also mental. Everything which is blue is also transparent, transcendent and deep. The sky, the clouds, water and the stary night. Blues are nocturnal. Since Romanticism Blue is the color of Reverie : Goethe, Novalis, Mallarmé, Eluard, Gaston Bachelard and Else-Lasker Schüler sing this Azur. Blue is a secret which holds its promise.
The Absence of an image in these blue paintings makes all images possible. Out of nothingness grows the sensibility and invention of the present. This is the deep space holding everything out of nothingness. In the beginning is the imagination the desire for expression. The deep space is an immersion into the depths of music, language, dance, imagination, emotions, the infiniteness. of the universe. This nothing becomes the vectors of all possibilities. Blue is a force and strength. I could recount your names for days, speak of you without mentioning your name. (Xavier Naidoo).
Blue is Chopin and Schuhmann, Beethoven’s troubled heart, Miles Davis and Frank Zappa’s Jazz of the Universe. It is the dream-walker of Australia, the love of lyrical rap. It is the tender strings vibrating of the Oud and the Indian Raga. Blue is everything 56'000 times over. It is Martin Luther King’s prayer and what Malcolm X would have become would he not have been murdered. Blue is a gentle promise. It is the love of Victor Hugo’s Jean Val Jean.
Blues are empathy, melancholy, tears, love the ocean. Blues are warmth and forgiveness. Blue is peace and the color of the age of Aquarias. Blues are also above the senses and purity. Blues are love.  Blue is also all colors because it is close to black. Blue is also red because it comes from the earth and sky and is the color of the heart, of love. Mary’s clothes in Titian, Raphael and Botticelli’s paintings are blue because she carries the sky within her. It is an immersion in God’s garment in an everyday and natural form. Blue is also the blue delphinium of the African highlands or the Iris. Blue promises the golden age. It is the old new dream of paradise. The blue nudes of Matisse dream the age of paradise in blue.
Images in the absence of images have a material fullness, they are the sound of the heart and soul. Being and becoming, the reality of a dream lived in the everyday. Blue is a movement towards black (Gaston Bachelard) This beautiful blue, the poem and reverie of Jazz with is movements away from Abstraction into space you find in oriental arabesques, Ingres, Turner, Monet, da Vinci, Rothko, the caryatids of tenderness of Modigliani, Chagall’s dreams, Yves Klein, Robert Motherwell, Braque and more.
Blue is a cosmogony. A vitality present in the entire universe like the sun moon and stars. Blue is Lapis Lazuli the Stone of the Wise. Immateriality is also in these blue paintings. Life is an upward and downward movement and the day will arrive when the word blue suffices to materialize a blue painting. We shall continue painting anyway, the two are not mutually exclusive, because snow is blue and not white.
The blues shine like the sky, like the night, like a Symphony and places us in a world of drunken sensibility. Blue is Mary’s heavenly robe as well as Eve’s earthly nakedness with Matisse. The nakedness of Matisse’s blue figures are the paradisical condition of human beings on earth.
Blue is never ending, deepest of all colors next to black.  The eye can drown in these paintings without obstruction, moving in the infinite. Blue is fluid, sky, water, air, the blue cloudy hair head of Modigliani’s Jewess. Blue circles the great unknown, what stirs the soul and what moves her.
Blue is peace and non-violence. It is the unseen writing of everything felt, seen and heard. Blue,- is a condition of the soul.

 
The boarder envelopes what is inside and differentiates what is exterior to it.
Seen differently, the boarder is also that which creates the link between what is inside and outside.
Perhaps instead the boarder is in effect a kind of field, imagine looking through a looking glass, the frame expands and the edges become thick like with peripheral vision, the edges slightly out of focus, no longer an object; background and foreground merging.
The boarder then is perhaps the quintessential gatherer. Perhaps this is why there is so much traffic at borders. The border is a link within an expanded field. Boarders are places of pain and joy. These blues capture this duality with hope, the human spirit in its strength and beauty, shining through

 
Memory has a materiality, a physicality: it is corporeal.
« Bodies have all the explanatory power of the mind . » We don’t have bodies the same way we have other objects, because being a body; our corporeality, is something we occupy, something we must live.
Corporeality goes beyond a materialist reductionism. Corporeality is like a flame, it is both substance and process. Bodies are constituted materially and immaterially at the same time.
Memory is lived experience, collective memory, desires and trajectories : a corporeal sharing and communion with the world. I must have a body in order  to see and to be seen. Sight and touch inside and outside meet with the body and through memory. Merleau-Ponty speaks oft he reversibility oft the flesh. Body and memory are intimately connected both are permanent and always changing their expressive potential and what they can do. Like language memory is a ‚wild being‘, the world touching and perceiving itself. I can only see by the touching of the light“, Luce Irrigaray. Memory is a kind of sight, a corporeal vision.