of forms, unexpected variations and aspects emerged.
Each picture that forms the multi-partite Mosaic ��� now
some fourteen photographs��� stands alone, inscrutable
in its relationship to the other in the series, despite shared
colors
and
textures.
The photographs, each
measuring four by three
feet, can ostensibly be
rotated any which way,
the sequence of images
recombined, in a line or
grid. Wondrous shapes
come to the fore ��� a twist,
an arch, a zig-zig, and
odd-ball forms that we
cannot name ��� all held in
check by the mystery of
someone else���s design,
to which we are not party.
Once upon a time, before
weather and fading took
their toil, the frontal planes
of the letters were painted light blue against a white
background, their profiles set into deep perspectival
recession by dark rust and ochre shading. Such surfacepopping, trompe l���oeil modelling now seems charmingly
na��ve, a vestige of attention-getting publicity before photobased billboards and neon signage. Saylor transcends the
HYLAND
