NYU Black Renaissance Noire Fall 2015 Volume 15.2 - Page 120

In 2000, he sojourned in Bavaria beginning the Strings collection through which he explored the internal logic of molecular biology, particularly the double helix as a move toward a “post deconstructionist and deciphering practice”2 against the discursive rhetoric of an artistic unicentricity. 118 The structure formed by double-stranded molecules of nucleic acids such as dna and rna fascinated him. One finds similarities between the spiral polymer and the work which, at its core, argues the similarity of mechanisms of all organisms on the planet at the level of which they handle their genetic information and use it to create the building blocks of a cell. Lewis draws from these new possibilities science offers, to move us toward orders of understanding different from intuitive common sense or appropriation. His quest for the human begins “where such modes of thought end, or at least where they fail to address questions that require for their answers, more than enumeration, cataloging, impressionistic summaries, selected lists, or noncritical formulations”.3 Strings give another sense to Wayne Lewis’ pictorial work. It does not signify the history of a subject but the attention to its own history without subject. It acts as a replacement in Derrida’s sense of abstraction in that the non-mimetic image relies on the assistance of the viewer to complete its meaning. Suite in Grey is a series scribbled with vigor. Wayne Lewis ended up at the hospital during the process of creating it. This remarkable entry is an occasion for Wayne Lewis to give t