“Interruptions, reverberations, overlappings. Tornadoes in the abstract.

And all of a sudden I understand . . .

These ill-handled, badly matched words, especially those
I was just writing, clumsy, erroneous, increasingly inaccurate, wrongly positioned words, and (fascinated as I was by what I wanted to avoid) sometimes conveying the contrary of what I meant, words to bridge the gap (but the gap remained) ──suddenly it struck me that these flawed sentences, never reaching their goal for all their deviations, would have gained me if shown to any reader the status of a mentally defective, unconscious of his own derangement, a poor wretch who was out of his mind. Having become an imbecile in words, it is true that I no longer grasped the wholeness, the particular wholeness that is formed by the idea and sentence, but I did grasp other wholenesses, wholenesses which the sentence, even had it been perfect, could not express, unaccustomed as it was to this kind of extraordinary phenomenon which the mind perceived without the capacity to take hold of it.”

Henri Michaux, The Major Ordeals of The Mind (London: Secker & Warburg, 1974) 35-36.

For Nicholas Matranga's first solo exhibition at Frutta he would like to ask you to “Mind the gap(s).”