Excerpt

Every artist will gladly accuse themselves of creativity but some do it anonymously. The evidence can become obscured by time and by a lack of tangible documentation. The transit police had a great library of evidence and in a way it was the ultimate accusation of artistic practice. The transit police were also the active critic of the whole genre. The police will actively gather evidence but unlike the transit police they are not as obsessed critically. In relation to gathering evidence and making it relevant to the accused there has to be a literal pointer or a literal particle. The fragment is the literal particle a piece of evidence that points to the accused. It is the word pointing to the symbol like a name but not as specific. A cultural marker though a marker of guilt, a mark of accusation. It is customary for the artist to accuse but have no solution to the accusation. The artist lays blame seemingly untouched by the accusation as though outside of the accusation. The artist gives themselves a privileged opinion outside of the mechanism though really the artist isn’t the true mechanism. The artist isn’t the warhead, the literal missile launched but the judge and jury waiting to give judgement. The tables turn on graffiti where the artist is singled out, they are guilty of the crime. The artist is the warhead, the artist is the missile destroying public space though not literally. The graffiti artist is guilty of everything possible, they are the gateway criminal waiting to become the ultimate offender. The marks they leave behind must be hidden, must be cleaned to remove the evidence. The evidence is constantly blanked out, removed from public space and wherever it is left the threat of some unthinkable crime hangs in the air like a knife ready to make contact.

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