2025
        WINDOWS SCAFFOLDS AND VISIONS OF EXCESS (BARD MFA, JULY - AUGUST 2025)    
        HANDS FEET TEETH SKIN SHIT PISS AND FEATHERS
   
   2022 - 2024

   THE SUNSHINE OF PARADISE ALLEY 2024

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The things can solicit the flesh without leaving their places because they are transcendencies, rays of the world, each promoting a singular style of being across time and space; and the flesh can capture in itself the allusive, schematic presence of the things because it is itself elemental being, self-positing posture, self-moving motion adjusting itself to the routes and levels and axes of the visible. This intertwining, this chiasm effected across the substance of the flesh is the inaugural event of visibility.
MAURICE MERLEAU-PONTY,
THE VISIBLE AND THE INVISIBLE

The participation in everything that, among men, is horrible and allegedly sacred can take place in a limited and unconscious form, but this limitation and this unconsciousness obviously have only a provisional value, and nothing can stop the movement that leads human beings toward an ever more shameless awareness of the erotic bond that links them to death, to cadavers, and to horrible physical pain.
GEORGES BATAILLE, 
VISIONS OF EXCESS

Thus the anonymity of the book which does not address anybody and which, through its relationship with the unknown, initiates what Georges Bataille (at least once) will call "the negative community: the community of those who have no community." 
MAURICE BLANCHOT,
THE UNAVOWABLE COMMUNITY


WINDOWS, SCAFFOLDS AND VISIONS OF EXCESS produces communication and isolation as provisional instruments. Modular, austere structures, they stage a precarious alliance between body and object, presence and absence, description and anarchy. Invoking a choreographic, feigned, archival impulse, they artifactualize an erotic underworld, sometimes protected and sometimes exposed by the bureaucratic domain it occupies. Viewer becomes witness, indicting spectacle and penetrating the pathetic, abject compulsions that hide behind formal thought.

Abstract but familiar forms made of raw plywood, echo furniture (queering the formal minimalism of Donald Judd), theater props, and vernacular architecture (urban scaffolding, temporary structures of theater and carnival, things made urgently to momentarily house, support or contain). Although resemblances to functional architectures and objects proliferate, the actual function of each object remains oscillatory and unstable.

In Prop Coroner, language appears only partially, inscribed in the negative, eroded by low contrast, flickering between legibility and disintegration. Here, language fails as communication and rather appears as a remnant of the monumental, like an epitaph, a tortured fragment of institutional discipline, a prop (propped-object). The inscriptions are enigmatic but evocative, creating mood rather than resolve. Borrowed and/or corrupted language from the artist’s research, they read as follows:

        GAME RUNNER’S PROP PLAYER

        IN THE NOSEBLEEDS IN THE DEVIL’S PLAYGROUND

        THAT HOTBED OF ASSIGNATION CLICKETY - CLACK

        LASSITUDE NAUSEA AND AGONIZING DESIRE

        EVERYTHING OUT OF ORDER EVERYTHING IN DISARRAY

The found images and objects that accent the installation situate the sculptural propositions within the more concrete psychic geography of Times Square, building on the conceptual foundation of artists and thinkers such as Tom Burr and Samuel R. Delany. Times Square’s infamous history as a red light district and cruising ground, “cleaned up,” and gentrified, gives the rest of the work a more tangible connection to its real-world stakes.

In this body of work, form and language function as parallel prostheses, extending thought while estranging it. Through restraint, Cadman traces the contours of an essay wherein looking is inextricable from thought, communication is mediated by the unsayable and the unknowable, and redaction brings us closer by acknowledging what cannot be shared.










































Produced as the same body of work, but not as the same installtion, this model Two Timer.