If these portraits are of lives lost, of friends and comrades no longer accessible to perception, the relation of image to model in this instance cannot be conceived according to the representational criteria of mimetic fidelity. Fidelity to memory is of another order, and operates otherwise.
The manual translation that produced these pixelated portraits (the marks were left by a jeweler’s screwdriver applied to the oil- and graphite-coated beeswax) was not that of a hand following the prescription of a model. The movement of memory left these traces, so many notations for future reference. Facsimile documents what was virtually a state of emergency in an affected community – the artist’s own – in the early 1990s, respecting the specificity of individual instances even as it locates them in a geographical and historical context. The series format itself attests to this history’s unfolding over a critical time: The quasi-mechanical enumeration, case by case, is not dialectically resolved, comes only arbitrarily to a close, and could conceivably go on indefinitely.
But how can a crisis go on indefinitely? The portraits ranged in Facsimile‘s four parts address this question both to members of the community in question and to those at some distance (spatial or temporal) from it, who may imagine themselves untouched, even immune. As Thomas Keenan notes in a conversation published in 1991 under the title “The AIDS Crisis is Not Over” (a text that, like Facsimile, retains all its pertinence decades after the fact),
There’s a way in which the telling of the story, the testimony of the affected community, functions or can be received as an accusation, by those who thought they were uninvolved. The testimony is an address, which means that it’s a provocation to a response. And that’s what they don’t want to give. They don’t want to respond to the person who has called – for responsibility. When someone says “I don’t want to hear about it”… they are telling the truth. They are creating themselves as something insulated in its generality from the specificity of the address, by disavowing any involvement with the one who appeals. [American Imago, 1991]
In the commemorative portraits gathered under Andrews’ resonant title, the appeal comes to the viewer not only from before and beyond the grave, but from the moment at hand. It is a call to recollection and to responsibility, one that we ignore at our own risk.