• We have witnessed similar kinds of ideas and instincts throughout the history of modernism, episodes that constitute a tale of unbridled visual curiosity and its transformative effects on the central forms of Western art. This in turn alerts us to the accretive, bibliographic nature of Ingmire’s research. Paul Klee comes to mind, as does Joan Miró, the wandering poetic line of Guillaume Apollinaire, or the space-sensitive lyrics of Kenneth Patchen or Charles Olson, among others; so, too, visual surrealism, the sturdy, fully exposed compositional latticework of Franz Kline, and the moody sensualism of the symbolists; also ideographic writing and ancient cursive scripts, and early modern English handwriting, lettering of ripe visual appeal. But all this should be understood as background, something to look for as we continue looking, not always immediately recognizable as such, but felt, and it is a clue to the thoroughness with which Ingmire has investigated his medium and gradually incorporated a variety of interests into his visual means.

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