To see and to work. To paint in a way that was predetermined and to paint a subject that was always virtually the same. Thus to simultaneously liberate the painting style which represented the subject without prejudice: as I would call it, and the freedom to read that subject as space, light, color and form. Morandi paints things that exist, though they are stripped of all burdensome references to social function and history or political contexts. His discreetly expressive painting style is in concert with a subject that is also discreet, in the sense that they are vessels and containers who’s meaning is open and exists outside clearpolitical or functional reference. We are free to enjoy them and feel them as we might an abstract painting, yet they are faithful and mysterious representations of objects that were there. Huddled together in familial dependencies. So that their edges touch, and the bodily groupings and their contact enables them to stand humble yet noble on their simple shelf. They stand for themselves, but they don’t articulate exactly what that is.