Dust is what connects the dreams of yesteryear with the touch of nowadays. It is the aftermath of the collapse of illusions, a powdery cloud that rises abruptly and then begins falling on things, gently covering their bright, polished surfaces. Dust is like a soft carpet of snow that gradually coats the city, quieting its noise until we feel like we are inside a snow globe, the urban exterior transmuted into a magical interior where all time is suspended and space contained. Dust makes the outside inside by calling attention to the surface of things, a surface formerly deemed untouchable or simply ignored as a conduit to what was considered real: that essence which supposedly lies inside people and things, waiting to be discovered. Dust turns things inside out by exposing their bodies as more than mere shells or carriers, for only after dust settles on an object do we begin to long for its lost splendor, realizing how much of this forgotten object's beauty lay in the more external, concrete aspect of its existence, rather than in its hidden, attributed meaning.
Dust brings a little of the world into the enclosed quarters of objects. Belonging to the outside, the exterior, the street, dust constantly creeps into the sacred arena of private spaces as a reminder that there are no impermeable boundaries between life and death. It is a transparent veil that seduces with the promise of what lies behind it, which is never as good as the titillating offer. Dust makes palpable the elusive passing of time, the infinite pulverized particles that constitute its volatile matter catching their prey in a surprise embrace whose clingy hands, like an invisible net, leave no other mark than a delicate sheen of faint glitter. As it sticks to our fingertips, dust propels a vague state of retrospection, carrying us on its supple wings. A messenger of death, dust is the signature of lost time.
Celeste Olalquiaga: The Artificial Kingdom: A Treasury of the Kitsch Experience, with Remarkable Objects of Art and Nature, Extraordinary Events, Eccentric Biography, and Original Theory, plus Many Wonderful Illustrations Selected by the Author and from the publication below.
"The Personal History, Adventures, Experiences & Observations of Peter Leroy by Eric Kraft, is one large work of fiction composed of many interconnected parts. Its parts are the memoirs and collected works of a fictional character, Peter Leroy, who tells an alternative version of his life story; explores the effect of imagination on perception, memory, hope, and fear; holds a fun-house mirror to scenes of life in the United States; ruminates upon the nature of the universe and the role of human consciousness within it; and prods and probes the painful world of time and place in search of the niches where hilarity hides. " More at the website ->
(And thanks to one of MoD's numerous (and sometimes numerate) minions for drawing our attention to this dusty fellow traveler. Mr Stewart, custodian of our 'Zymoglyphic Museum' sub-collection, take a bow.)