Curators and art critics paint their own portraits of artists with text. In this piece, both painting and textual biography are subjected to the knife of the cut-up — a particularly suitable set of incisions given that the textual cut-up technique was first used by painter Brion Gysin. Memmott's juxtaposition reveals some of the different qualities of text and image but by making works and lives multiple it also provokes questions about how one medium is used to situate and frame the other.

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