It was at the Miami Monument that I took the photograph which became this painting. You enter the museum from the road by way of a narrow half-tunnel that leads to the courtyard where the sculpture and the Memorial Wall are the focus of the memorial, but there are chinks in the stonework, and on certain days, when the sun is at the right height, it pierces the stone and carves lazer beams of illumination through the tunnel, as though the Priestly Blessing were being recited in honour both of the victims of the Holocaust and those who made this memorial a reality - "there is a crack in everything," as Leonard Cohen once beautifully expressed it; "that's how the light gets in". I must have taken dozens of photos, trying to capture the light, but time after time it bounced, blurred, wobbled, refracted. In the end I had no choice but to take the best of those photographs, scan it, and then create the image of the absolute by hand, using my digital paintbrush.
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