The "Paper Collapsions" represent momentary windows into operational necessity. They "are" strange, active singularities. They "are" minimally distant dependent, unique and specific works of art. They "are" creative morsels brought forth by the momentary abandonment of all purposeful servitude. They afford us an opportunity to momentarily forsake "time" in order to momentarily catch a glimpse of it. They reinforce a joyous feeling that stable reality proceeds in the domain of falsehoods. Thus, a serious contemplation of the "Paper Collaptions" awakens in the viewer active moments of a personal desire to advocate and creatively produce superior "untruths" that become "truths" only as works of art.

Our good fortune which sustains us during these arduous and formative moments of betterment, fueled as they are by the positive nature of justice, lies in the fact that utimately a remedial "no" is only capable of saying "no" to "no".

The "Paper Collapsions" have been compared to the products of printmaking and photography. However, as long as photography does not command a shutter speed that equals that of the speed of light, this would be a totally false comparison. It is true, however, that the "Paper Collapsions" bear a family resemblance to the proceeds of printmaking in that they share the physical condition of being signs, imprints or embossments that are technically connected to a referent along a direct, physical axis. However, a critical investigation into the nature of "duplication" and how new internally generated principles of thought might confront "repetition" would shed some light on the crucial, conceptual and technical differences between these two art forms.

In this area a total clarity is not possible, but a better understanding of the emergence of difference in general might be attained by exploring the nature of ordinary footprints versus creative footprints or the irrational footprints of difference itself.