A Field Guide to Getting Lost

The photograph is only the trace or souvenir of the work of art, which is the leap itself.

Worry is a way to pretend that you have knowledge or control over what you don’t—and it surprises me, even in myself, how much we prefer ugly scenarios to the pure unknown.

Adulthood is made up of a prudent anticipation and a philosophical memory that make you navigate more slowly and steadily. But fear of making mistakes can itself become a huge mistake, one that prevents you from living, for life is risky and anything less is already loss.

An urban ruin is a place that has fallen outside the economic life of the city, and it is in some way an ideal home for the art that also falls outside the ordinary production and consumption of the city.

with ruin a city comes to death, but a generative death like the corpse that feeds flowers.

When I first began to write, I had been a child for most of my life, and my childhood memories were vivid and potent, the forces that shaped me. Most of them have grown fainter with time, and whenever I write one down, I give it away: it ceases to have the shadowy life of memory and becomes fixed in letters; it ceases to be mine; it loses that mobi

We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the distance between us and the object of desire that fills the space in between with the blue of longing. I wonder sometimes whether with a slight adjustme

Lost really has two disparate meanings. Losing things is about the familiar falling away, getting lost is about the unfamiliar appearing.

It is the job of artists to open doors and invite in prophesies, the unknown, the unfamiliar;