Sarah Rapson, Secession

A painting is a shadow of the wall it hangs from. A shadow is not always behind you. During occasional lifetimes the light is behind you and the shadow is in front of you. A painting is a shadow in front of the wall it hangs from. During occasional exhibitions a wall has more than one front and more than one behind. 

When the light is off the painting is off. 

A film is not the shadow of the man nor the shadow of the wall behind him it is a history of that man and a history of that wall behind him. A painting is also a history. A painting is a history of the man who stood in front of it and the man who stood behind it. During occasional lifetimes a painting is also a history of the wall behind it. During occasional exhibitions a painting is also a history of the wall it hangs from.

When the light is off the film is off.

Down in the basement down on the couch down in the alley down on the fire escape down in the subway down on the street this is no place for a painting. This is a place for a film. 

A ghost is a good metaphor for many things including a painting and a film and a wig is a good metaphor for many things including a painting and a film. There is nothing that is a good metaphor for a ghost and there is nothing that is a good metaphor for a wig. There has never been a ghost it is just that part of the history of the man and the history of the wall behind him which can not be filmed and can not be painted and will not remain behind you. There is a thing in the room with you if the painting is good and the film is good it is not a ghost it might be a song. 

A man in a wig is down in the basement down on the couch down in the alley down on the fire escape down in the subway down on the street. This is a man from a film this a man in a film.

It is just a painting. It is just a film. It is just a woman. Sarah Rapson made a painting and made a film made an exhibition. It is just a painting. It is just a film. It is just a wall. It is just an exhibition.