Notes on DESTINY:
Celebrating the self is essential charity, I can fool myself into “loving” work for sure, but can also accept the number of things I do in the day, where I have to find the exact location and will myself into adulthood, like brushing my teeth, eating breakfast—showering, working, smiling, being a “professional.” We should scream more. That’s how it is—I’m not jaded—actually, I don’t hate it, I like the ceremony of productivity it’s chic—the little outfit—it’s permission to get stressed about something literally no one remembers—I’m saying you get to invent the limit of your reality, it can be plastic, your concept of living, it can be liquid.
DESTINY.
I used to work at a gallery it was such a dream of mine to work there it was so cold, and I liked that. It was risky, and I liked that. I’m not talking about the art—I don’t usually go there, in fact I don’t think about it much at all. When it came up now, it wasn’t a crushing—We’re making a book, I needed an image, which I tore from behind a very thin vail—think of a really shitty paywall which is free, it’s like steeling salad from a demented witch, and I love that, but it reads as a bit needy or desperate, it is embarrassing to keep your x’s key achievements in a box under your bed, but this actually wasn’t that, it was special, it had a signature that was so specific to my memory of someone, someone who cares through their attention to the record— I shake wishing I could have those nesting folders and mushrooms as a secret that’s mine, I loved that, I still love that, there’s a unbridled play involved in moving through the world, where only you know your reality.
DESTINY
We’ve been sharing this book for four years, I really have loved making this book so much, that meetings between Amrita & I became an earlier relationship, one which expanded out before and after the gallery, an orbit, where we share things and then we ride that, and eventually we say, so the book, and now here it is and there’s still much left to say to one another.
DESTINY
—Joshua Edward, editor (fine-art) nmp
