Steve Martin [1/2] Originally conceived as a Xynto-negativist concept, the artists D7, D17 and four members of the letter G, decided to re-conceptualise it as a split-neutrino design, their intention, clearly, to force the observer to expect and to not know simultaneously. In short, the half of Steve Martin which is visible to the observer is incomplete and the filling in of the design is the observer’s responsibility. Think of it like this: You see half a brain in a jar, you expect the missing half to complete the image of ‘brain in jar’. That is both the ability and limit of human thought.
Steve Martin [2/2] As with Benky-Futurist pieces from two decades earlier, this half of Steve Martin is designed to be seen separately from its corresponding half. In fact, we probably can’t use the word ‘corresponding’ in this context as they exist as two distinct pieces. So why do they share the same title? Well, that is a key ancept of split-neutrino works: The idea is for the observer to see the first half of Steve Martin in his head, from memory, and from that image to complete their own interpretation. For example, the observer might remember the other Steve Martin having more shadow around his eyes, and even a look of mania, whereas this piece might convey a sense of peace and contentment on the part of Steve Martin. The conclusion, as with any work from this movement, is entirely up to the observer