I absolutely love these works, which for me fall between my two favorite "concrete" poets, John Furnival and Dom Sylvester Houedard —both of whom also worked with fundamental lettering. But Quarles' code strikes deeper, since it is an effected one; it carries the same archaeology as cuneiform—strokes, layers, countries, languages, intermingled, interspersed. These pieces could be tablets whose coding speaks, however troubled, to countries beyond us. I think of our languaging (in relation to Xerolage 36) as imminent, momentary; I think of these works as simultaneously bound to a particular instance of coding (ascii, Internet), and smeared or parcelled among other frames, cultures, organisms. I've always admired the baroque, even mannerist, quality of Quarles' style, which comes to fruition here on the printed page.

—Alan Sondheim

This looks really interesting, would be even more interesting in print I'm sure. Printed or etched on silicon. Like a billboard up close its breaking down imagery into fundamental units of on of, squinty pixels. And I remember the pictures he is talking about at fairs and where not, where they would "print" your pictures on a dot matrix printer. The influence of his work as a photolithographer shows as well.

—Derek White

"I think this early exposure to the mutability, and imagistic capability of language has subconsciously effected my entire life, and my relation to language as a visual component. I have thought about many possible threads of meaning for these pieces, but ended up slightly dissatisfied with their various limitations. One thing I will tell you is that sometimes wishes come true."

—Lanny Quarles, introduction to LINEAR ARRANGEMENTS, Xerolage 36