The fragments are part of the older form. You can see it in the "two days two lilies," and in the spots of time. The stop in time the bloom-- makes real or present. The fragment enters at a point of falling from height or of rising in a spring-like phase.
Maybe I am confusing different threads.
Here the fresco comes back. A story, an old story made new in it's self consciousness.
This idea of fragment comes somewhat from the passing the death of these moments.
A painting tries to hold against this change even though we know the reality of change and truth .
Out of doors the light changes, the winds begins, the buggs bite, weather is constant.
There is a relation here to an Italian Fresco deteriorated and cracked.
First a broken reality we could not achieve, maybe in our belatedness to the subject. But here I guess I saw another tack just in mirroring the actual reality that everything is failing as we go on.
A reality which if excepted allows the depth of beauty in our art.
This is the largest irony and profound in the face of political irony of most content oriented art of today.
Another aspect of the fragment was its memory.
The underlying drawing was winter was the earlier black and white painting which got me to this future place and now has its own memory.
It becomes a continuing cycle and without the fragment we have stasis instead. Stasis which art has encoded in its own way, another subject.
