Awakening to the night opens a dark eye into the invisible world. James Hillman 
With the shadows I am trying to represent the will of each stone. But at the same time, it's a reflection of the visitor’s own thought, an invitation to enter an imaginary world. Lee Ufan 
Ruminating into the shadows during this season of the longest night, I think first of those passionate people who examine, record, and document petroglyphs. All manner of illumination may be employed, even obsessively, to “capture” the carvings’ forms and precise details. For many years this has included chalkings, paintings, scraping moss and lichens, rubbings, and tracings, followed by photographs or drawings. When timing a precise angle of the light was not adequately revealing, the stone and marking may be wetted or, inviting shadows, photographed at night strafed by studio lights. Now 3-D laser scans, cameras drooping from balloons, and hovering drones simultaneously leave no stone untouched and do not touch the stone. What is the contained residue of this research? Designs, motifs, elements, floating signifiers.
What is missed in this sharp looking? I say the elusive whispers of the muses of imagining who with respect may emerge from the realm of shades. Or pull us toward, within. We can choose to follow, along the edges, bearing light and night, bright and dark, each in mind and heart. The photographs here seek to open to the presence of the dark. Through the images, to feel the elusive depths of being human.
 From the essay “Waking at Night” in The Force of Character (1999).
 June 2014 interview quote from: http://www.youtube.com/watch?v=iCiAZwLXUTM. Lee Ufan, cofounder of Japan's Mono-ha (School of Things) movement, displayed ten new sculptures from his "Relatum" series on the grounds of Louis XIV’s 17th century royal palace Château de Versailles, outside Paris, summer and fall 2014. Views of the sculptures: http://www.youtube.com/watch?v=9ooT07R_ExU
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