Despite their reductive appearances, Groombridge’s work holds an indexicality or reference to the real. The forms are not entirely arbitrary; they are rooted in sourcesfacts, data, measurements; some common, some notor a system of his own devising. There’s a there thereyou just need to look harder to see it.

Regardless of the efficacy of my interpretation, its relevance is only warranted by that which eludes writing. After all “meaning,” according to Brian, is probably overrated. I undertake this writing exercise because I admire Brian’s character and his work.

Comprised of woodcut prints, shaped and pleated paper elements, and puppets that the audience is invited to move around via a system of wire tracks, the impression conveyed by the installation is of a story that both unfolds as a narrative around the perimeter thus implying the progression of time while it also exists as an absorbing and immersive experience in the present moment.

As I stood with Jaime Angelopoulos inside her studio, it was admittedly difficult to concentrate. Trains of thought kept running away from me, questions on the tip of my tongue suddenly dissipated from memory.