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[Glenn Ligon: Slojevi Znacenja]

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Postoje brojni nivoi pristupa

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mojim slikama.

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Moze mu se pristupiti jednostavno

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kao predmentu koji poseduje izvesnu vrstu lepote.

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Moze mu se pristupiti kao

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predmetu koji u sebi sadrzi tekst

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koji ima razlicite nivoe citljivosti.

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Ako neko zna za Dzejmsa Boldvina i zapazi

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da tekst na mojoj slici potice iz

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eseja koji je on napisao,

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onda to otvara sliku; daje joj razlicite

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nivoe znacenja.

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Slike s temom 'Mars Milion Ljudi',

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nastale su sredinom devedesetih,

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nekoliko godina posto je Luis Farakan,

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vodja islamske nacije

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organizovao mars ka trznom centru u

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Vasingtonu, s ciljem da crnci budu

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vidjeni i prisutni u drzavi,

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sto je za mene ironicno

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jer su crnci bili u ovoj drzavi od pocetka

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pre nego sto je drzava uopste postojala,

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ali jos uvek osecamo potrebu

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za samopotvrdjivanjem.

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Ironija ovog marsa je mozda u tome

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sto su crnkinje bile potsticane

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da izostaju s posla, ali ne i da prisustvuju

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marsu kao aktivne ucesnice.

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Kada sam poceo da razmisljam o pravljenju

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tekstualnih slika koristeci slike marsa,

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ovakva ideja odsustva

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ili nestanka zena, bila je nesto

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sto me je zainteresovalo i sto sam pokusao

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da nadjem u samim slikama.

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Kao i kod svakog drugog umetnickog dela,

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predmeti postaju vredniji, ako saznas vise o njima,

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ali ne mislim da je to od sustinske vaznosti.

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Neko moze da useta u muzej, a da ne zna

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apsolutno nista o slikama Dzeksona Poloka

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a da ipak ima reakciju na njih;

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da ipak nesto dobije iz toga.

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Ono sto iz toga dobijaju, moze biti

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vrednije ukoliko znaju vise o tome,

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ali tako je u svemu (smeh), znate,

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sve na svetu je takvo.

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