The Cut-Out

Person, object, memory

The work refuses to decide which description overrides the others. The Cut-Out can be a flat image, a person with training claims, a social acquaintance and somebody’s long-lost Marfa friend in the same sequence.

World-building by incompatible facts

Rather than explaining the transformation, PAGODA BENZ simply lets each new fact remain true enough to continue the scene. The Cut-Out is therefore a particularly clear example of Documentary Instability happening to a character.