BURNING HELIX


I was fascinated by the genes' total indefference to the individual, that we are this combination of predetermined accidents. We don't know how those genes are going to behave, how long they will behave well, or badly, or whichone is damaged and so on. The paradox of knowing that much about ourselves, yet nonetheless being at the mercy of this system of molecules, was very much on my mind. In the sense the genetic code was a logical outcome of the Justice Series.  You can see the symbiosis, it's the same idea carried in another direction.


The justice images pose the paradox between human beings and what they're thinking, how the jurors and all the protagonists are conditioned by their own environment, their own points of view. This plays out in each of us when we consider our own guilt or innocence in a given situation, and therefore the genetic code and my interest in it seems almost predestined, it's so related to everything else.


I was fanning out from previous ideas as more information came in to me. As I learned more, I was able to consider how arrogant it was to suppose that we have a right or wrong standard that we can apply, when there are so many imponderables over which we have absolutely no control.




Hung Jury


YEAR: 1970 SIZE: 22.5 X 24.5 SIGNED: LL - W/IN IMAGE TITLED: LL - W/IN IMAGE PUBLISHED BY TAMSTONE ON WAYNE'S OWN RIVES WITH TAMSTONE WATERMARK


This is the first print published by Tamstone, the commercial press Wayne established in 1970, after Tamarind moved to the University of New Mexico.



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