If you drag your life behind you in a sack, it’s your shadow. A shadow is a fact when you cast it and otherwise a metaphor for experience, except in art, where its meanings are myriad.
Cat Clifford‘s shadows do not depend on light. They have their own lives and creatures who move within them.
William Kentridge gives flesh to James Joyce’s aside, that history is a nightmare from which he is unable to awake.
In An-My Le‘s war, soldiers set up shadows to take the hit. (more)
Matt Browning‘s Honest Labor is a droll sham even though it’s real, which is why shadows carry the meaning.
Charles LaBelle‘s shadows accept none of taint.
Chris Buening‘s shadows are fractured light.
Methhead 
Said Buening, via Best Of
When I first moved to Seattle methamphetamine was quickly becoming (or perhaps already was) the preferred party drug in the gay scene. I was a working DJ at the time, spinning at clubs and parties around town….Methhead is a memorial for a lifestyle that I left behind years ago and for some of my friends who were lost along the way. I think of the statue-like crystalline head as being symbolic of many different faces / heads, as well as being a kind of self-portrait of that time in my life. I also think that correction fluid (a material generally used for covering one’s mistakes) is the perfect medium for the “portraits” in this series, which often have dark and embarrassing back-stories.
Wow on Chris Buening. Never before seen his like in these parts.
Saw this quote from Shakespear’s, Macbeth (Act V, Scene V) in an article by Marcia Vetrocq in AiA this month. It is about Anthony Gormley’s project for the Fourth Plinth in Trafalgar Square and it harkened me back to your article, Regina:
“Life’s but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more: It is a tale told by an idiot, full of sound and fury, signifying nothing.”