The text itself is taken from the artist’s own writings in response to art, literature, philosophy and religion. These lines of thought are hand stamped on top of each other, mutually confusing their meanings and progressively inhibiting understanding. The fluid shaping and manipulation of the text as a whole inevitably raises questions of language, form and the structures of consciousness.
The compelling use of the demonstrative ‘this’ in the title explicitly demands the attention of the viewer, and contributes to Khan’s effort to produce a meditative silence when faced with the complex structure of the work. One is drawn into the central abyss of This Thing through a spoked fringe of text towards an undefined black hinterland. While Khan’s monochromatic palette speaks to a modernist heritage of black paintings, through Malevich and Rothko to Serra, the artist rejects a monolithic approach in favour of a more fragile, fragmentary configuration.
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