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I discovered the cut-out corner of the bottom of page 234 from a reprint of The Crystal Palace Exhibition Illustrated Catalog, London 1851. It displayed an inlaid flooring pattern — “a star upon a ground of dark wood.” I then had to ask myself, why had I deliberately cut out this scrap of paper and saved it for future reference? I knew that I had not intended to use it as just an element in a collage. This is verified by how I had preserved the detailed description beneath the pattern. Clearly there must have been an idea associated with saving it that I had since forgotten. As I puzzled over the diagram, the all pervading grid, which I had encountered underlying all cubomania, and which I had become so familiar with as I prepared the squares in the beginning by drawing lines with a pencil and a ruler on the back of the selected image and then cutting the squares out, superimposed itself in my mind's eye over the flooring pattern before me on the scrap of paper I held in my hand. What could still be added? A diagonal cut obliquely across each square, or a slash. Thus was born what I would later anti-christen “slash cubomania,” or when shortened, “/cubomania.”

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Profile for Contra Mundum Press

Gherasim Luca Centenary Issue  

Essays and reflections in English and French on Romanian surrealist Gherasim Luca, including Luca's own texts and art. Also featuring rumi...

Gherasim Luca Centenary Issue  

Essays and reflections in English and French on Romanian surrealist Gherasim Luca, including Luca's own texts and art. Also featuring rumi...

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