The function of the veil is always to obscure.
But as the veil acts to hide,
its mutability,
the very quality that gives the veil
its unique abilities,
which gives function to its form,
which creates and masks,
will tend to act as a souvenir,
an allusion to identity,
so that the veil will always attest to
that which it attempts to conceal.
The forces from without
preserved within,
form following form,
absence and presence
endlessly attended,
revelation and concealment
balanced and enduring.

A painting speaks of itself
within itself,
as a web of processes
always acted upon from without
in reaction to that which is within.
The genesis of a painting may be
self-evident
or hidden,
but must remain ever present,
always already stated.
A painting exists as a summation
and as a dispersal.

The paintings in the show,
Abbey Road,
begin with the same referent
and then diverge.
Their divergence contingent upon
actions taken on behalf of
desire and memory.

One may wish to abandon an attempt
to state clearly,
to retain a private knowledge,
to veil a recollection.
Or one may wish to allow the origin
to reshape boundaries,
to refine,
to reveal.