[soft electronic music]
[soft electronic music] >> I THINK THE WAY ART COMES
>> I THINK THE WAY ART COMES INTO THE WORLD IS THROUGH
INTO THE WORLD IS THROUGH A METAPHYSICAL PROCESS.
A METAPHYSICAL PROCESS.
>> AN ARTWORK CAN TRANSPORT
>> AN ARTWORK CAN TRANSPORT A PERSON IN A SOULFUL, RICH WAY
A PERSON IN A SOULFUL, RICH WAY WITHOUT FEAR OF PUNISHMENT OR
WITHOUT FEAR OF PUNISHMENT OR ANY OF THOSE GOOD THINGS.
ANY OF THOSE GOOD THINGS.
>> USUALLY, A PHOTOGRAPH IS VERY
>> USUALLY, A PHOTOGRAPH IS VERY PRECISE AND IT'S AN END PRODUCT.
PRECISE AND IT'S AN END PRODUCT.
I LIKE TO USE THE END PRODUCT
I LIKE TO USE THE END PRODUCT AND TURN IT INTO AN UNFINISHED
AND TURN IT INTO AN UNFINISHED STATE.
STATE.
>> I WAS WONDERING IF I COULD
>> I WAS WONDERING IF I COULD HAVE MY OWN COMMUNITY AND MY OWN
HAVE MY OWN COMMUNITY AND MY OWN CITY BUILT PURELY BY MYSELF, SO
CITY BUILT PURELY BY MYSELF, SO I STARTED TO ENVISION WHAT THIS
I STARTED TO ENVISION WHAT THIS CITY MIGHT LOOK LIKE.
>> PEOPLE THINK THAT I HAVE
>> PEOPLE THINK THAT I HAVE A LARGE FACTORY THAT JUST KNOCKS
A LARGE FACTORY THAT JUST KNOCKS OUT WORK.
OUT WORK.
IF YOU WANT TO MAKE PUBLIC WORKS
IF YOU WANT TO MAKE PUBLIC WORKS IN DIFFERENT MEDIUMS, YOU HAVE
IN DIFFERENT MEDIUMS, YOU HAVE TO HAVE SUPPORT.
I DO HAVE A LOT OF PEOPLE THAT
I DO HAVE A LOT OF PEOPLE THAT WORK WITH ME, BUT WE MAKE VERY
WORK WITH ME, BUT WE MAKE VERY FEW PAINTINGS A YEAR, BECAUSE IT
FEW PAINTINGS A YEAR, BECAUSE IT TAKES A LONG TIME TO MAKE EACH
TAKES A LONG TIME TO MAKE EACH ONE.
ONE.
I LEARNED AT A VERY YOUNG AGE
I LEARNED AT A VERY YOUNG AGE HOW TO TAKE CARE OF MYSELF, AND
HOW TO TAKE CARE OF MYSELF, AND I'VE ALWAYS ENJOYED PROVIDING.
I'VE ALWAYS ENJOYED PROVIDING.
SO THE STUDIO'S REALLY AN
SO THE STUDIO'S REALLY AN EXTENSION OF THAT.
EXTENSION OF THAT.
IT'S A SENSE OF COMMUNITY.
FROM THE TIME I WAS A CHILD,
FROM THE TIME I WAS A CHILD, I WAS SELF-RELIANT.
I WAS SELF-RELIANT.
I WOULD GO DOOR-TO-DOOR, SELL
I WOULD GO DOOR-TO-DOOR, SELL GIFT WRAPPING PAPER, CANDIES,
GIFT WRAPPING PAPER, CANDIES, CHOCOLATES, AND I ALWAYS ENJOYED
CHOCOLATES, AND I ALWAYS ENJOYED THAT I NEVER KNEW WHO WOULD OPEN
THAT I NEVER KNEW WHO WOULD OPEN THAT DOOR.
THAT DOOR.
BUT IT'S THE SAME THING THAT'S
BUT IT'S THE SAME THING THAT'S HAPPENING NOW AS AN ARTIST
HAPPENING NOW AS AN ARTIST TODAY, WANTING THIS
TODAY, WANTING THIS COMMUNICATION, THIS INTERACTION.
IT WASN'T TILL I GOT TO ART
IT WASN'T TILL I GOT TO ART SCHOOL THAT I REALLY UNDERSTOOD
SCHOOL THAT I REALLY UNDERSTOOD HOW ART CAN CONNECT YOU THROUGH
HOW ART CAN CONNECT YOU THROUGH HUMAN HISTORY AND THE TYPE OF
HUMAN HISTORY AND THE TYPE OF RESERVOIR THAT IT COULD BE.
RESERVOIR THAT IT COULD BE.
IF I LOOK AT ALL THE WORKS
IF I LOOK AT ALL THE WORKS THAT I'VE DONE OVER THE YEARS,
THAT I'VE DONE OVER THE YEARS, I CAN SEE THAT I CONTINUE WITH
I CAN SEE THAT I CONTINUE WITH CERTAIN THEMES.
CERTAIN THEMES.
I LIKE FLOWERS.
I LIKE FLOWERS.
I LIKE CERTAIN SENSUAL IMAGES.
I LIKE CERTAIN SENSUAL IMAGES.
THERE'S CERTAIN THINGS THAT I
THERE'S CERTAIN THINGS THAT I LIKE TO WORK WITH, 'CAUSE IT'S
LIKE TO WORK WITH, 'CAUSE IT'S REALLY THE SAME INFORMATION, HOW
REALLY THE SAME INFORMATION, HOW YOU LOOK AT LIFE AND SPIRITUAL
YOU LOOK AT LIFE AND SPIRITUAL ASPECTS.
ASPECTS.
A LOT OF THINGS CONTINUE TO COME
A LOT OF THINGS CONTINUE TO COME INTO PLAY.
INTO PLAY.
OBJECTS ARE METAPHORS FOR
OBJECTS ARE METAPHORS FOR PEOPLE.
PEOPLE.
IT ALWAYS TURNS OUT TO
IT ALWAYS TURNS OUT TO BE ABOUT OTHERS.
BE ABOUT OTHERS.
IT'S NOT ABOUT ACCEPTING THAT
IT'S NOT ABOUT ACCEPTING THAT OBJECT, HIGH-LOW CULTURE.
OBJECT, HIGH-LOW CULTURE.
IT'S ABOUT THE ACCEPTANCE OF
IT'S ABOUT THE ACCEPTANCE OF OTHERS.
>> YOU GOT EVERYTHING, CHRIS?
>> YOU GOT EVERYTHING, CHRIS?
>> I DON'T KNOW IF THESE WILL
>> I DON'T KNOW IF THESE WILL WORK WITH THE FINS.
WORK WITH THE FINS.
YEAH, THESE BRACES WEREN'T THERE
YEAH, THESE BRACES WEREN'T THERE WHEN WE FLIPPED IT.
WHEN WE FLIPPED IT.
>> WE'LL TAKE 'EM OUT THEM.
>> WE'LL TAKE 'EM OUT THEM.
>> YEAH.
>> YEAH.
>> SCREWDRIVER.
[high-pitched whining]
>> WE'RE GONNA MAYBE LEAVE THIS
>> WE'RE GONNA MAYBE LEAVE THIS ONE IN FOR THE TIME BEING.
ONE IN FOR THE TIME BEING.
>> I WASN'T ACTUALLY GONNA TAKE
>> I WASN'T ACTUALLY GONNA TAKE IT OUT.
IT OUT.
I DID THAT ONE, AND I MISSED IT.
I DID THAT ONE, AND I MISSED IT.
>> 'CAUSE THEY'LL HAVE ENOUGH
>> 'CAUSE THEY'LL HAVE ENOUGH ROOM.
ROOM.
>> YEAH, THIS ONE, I'M JUST
>> YEAH, THIS ONE, I'M JUST GONNA LEAVE IT.
>> JEFF'S IMAGES ARE USUALLY
>> JEFF'S IMAGES ARE USUALLY MADE UP OF MANY DIFFERENT
MADE UP OF MANY DIFFERENT SOURCES.
SOURCES.
HE'LL COMPOSE THESE ON THE
HE'LL COMPOSE THESE ON THE COMPUTER AND SPEND A FAIR AMOUNT
COMPUTER AND SPEND A FAIR AMOUNT OF TIME COLOR CORRECTING.
OF TIME COLOR CORRECTING.
IT'S OUR JOB TO REPRODUCE AS
IT'S OUR JOB TO REPRODUCE AS CLOSE AS POSSIBLE TO THIS
CLOSE AS POSSIBLE TO THIS REFERENCE, AND THEN WE WORK WITH
REFERENCE, AND THEN WE WORK WITH HIM IN THE PAINTING PROCESS.
HIM IN THE PAINTING PROCESS.
WE TRACE THE DRAWING ON A LARGER
WE TRACE THE DRAWING ON A LARGER SCALE.
SCALE.
WE HAVE TO MIX COLOR TO HIS
WE HAVE TO MIX COLOR TO HIS LIKING.
LIKING.
EVERYTHING IS DONE THROUGH MAPS.
EVERYTHING IS DONE THROUGH MAPS.
FOR EXAMPLE, WE HAVE A MAP
FOR EXAMPLE, WE HAVE A MAP FOR THE HAND.
FOR THE HAND.
WE HAVE 141 COLORS JUST FOR THE
WE HAVE 141 COLORS JUST FOR THE FIST ON THAT PAINTING.
FIST ON THAT PAINTING.
IT'S ALWAYS AN ONGOING PROCESS
IT'S ALWAYS AN ONGOING PROCESS TO TRY TO GET IT AS CLOSE TO THE
TO TRY TO GET IT AS CLOSE TO THE REFERENCE AS POSSIBLE.
REFERENCE AS POSSIBLE.
>> SO, FOR EXAMPLE, IF YOU
>> SO, FOR EXAMPLE, IF YOU LOOKED IN HERE, WE HAVE NUMBER
LOOKED IN HERE, WE HAVE NUMBER 21.
21.
WE WOULD HAVE SOMEBODY MIX
WE WOULD HAVE SOMEBODY MIX ACTUAL COLOR THAT WOULD MATCH
ACTUAL COLOR THAT WOULD MATCH THAT SPECIFIC AREA ON THE
THAT SPECIFIC AREA ON THE PAINTING.
PAINTING.
WE MIX IT ON THE TABLE
WE MIX IT ON THE TABLE OVER THERE.
OVER THERE.
WE BASICALLY MAKE A SWATCH.
WE BASICALLY MAKE A SWATCH.
USUALLY THREE OR FOUR PEOPLE
USUALLY THREE OR FOUR PEOPLE HAVE TO LOOK AT THE COLOR AND
HAVE TO LOOK AT THE COLOR AND AGREE IF IT MATCHES OR NOT, AND
AGREE IF IT MATCHES OR NOT, AND THEN WE GO THROUGH AND TUBE
THEN WE GO THROUGH AND TUBE THESE PAINTS AND HAVE BOXES FULL
THESE PAINTS AND HAVE BOXES FULL OF ALL THE PAINTS THAT WE NEED.
OF ALL THE PAINTS THAT WE NEED.
FLESH IS A HARD ONE.
FLESH IS A HARD ONE.
JEFF'S VERY PARTICULAR ON THE
JEFF'S VERY PARTICULAR ON THE FLESH, SO ONCE WE FIND SOMEONE
FLESH, SO ONCE WE FIND SOMEONE THAT WE LIKE THAT DOES IT THE
THAT WE LIKE THAT DOES IT THE WAY WE WANT, IT'S VERY HARD TO
WAY WE WANT, IT'S VERY HARD TO KEEP 'EM AROUND, DOING IT GOOD.
KEEP 'EM AROUND, DOING IT GOOD.
WE HAVE PEOPLE THAT PAINT
WE HAVE PEOPLE THAT PAINT INFLATABLES REALLY WELL.
INFLATABLES REALLY WELL.
PEOPLE SPECIALIZE IN CERTAIN
PEOPLE SPECIALIZE IN CERTAIN THINGS.
THINGS.
THE WAY WE PAINT HERE IS VERY
THE WAY WE PAINT HERE IS VERY PARTICULAR.
PARTICULAR.
IT'S VERY SMOOTH.
IT'S VERY SMOOTH.
SO WE HAVE TO WATCH OUT THAT
SO WE HAVE TO WATCH OUT THAT PEOPLE AREN'T PAINTING TOO
PEOPLE AREN'T PAINTING TOO THICK.
THICK.
IT'S KIND OF AN IRREVERSIBLE
IT'S KIND OF AN IRREVERSIBLE THING.
THING.
YOU CAN'T REALLY FIX THAT.
YOU CAN'T REALLY FIX THAT.
BUT GENERALLY SPEAKING, IT'S
BUT GENERALLY SPEAKING, IT'S THREE PEOPLE ON A PAINTING AT
THREE PEOPLE ON A PAINTING AT ALL TIMES, AND IT'S PROBABLY SIX
ALL TIMES, AND IT'S PROBABLY SIX TO EIGHT MONTHS FOR A PAINTING,
TO EIGHT MONTHS FOR A PAINTING, SOMETIMES LONGER.
SOMETIMES LONGER.
IDEAS CHANGE, TECHNIQUES CHANGE,
IDEAS CHANGE, TECHNIQUES CHANGE, SO IT'S ALWAYS EVOLVING INTO
SO IT'S ALWAYS EVOLVING INTO DIFFERENT THINGS.
DIFFERENT THINGS.
I'VE SEEN JEFF WORK ON SOME OF
I'VE SEEN JEFF WORK ON SOME OF THE PAINTINGS YEARS AGO.
THE PAINTINGS YEARS AGO.
I HAVEN'T SEEN HIM WORK SO MUCH
I HAVEN'T SEEN HIM WORK SO MUCH NOW.
NOW.
THE PAINTING PROCESS I SEE HIM
THE PAINTING PROCESS I SEE HIM WORKING IS ON THE COMPUTER.
WORKING IS ON THE COMPUTER.
HE'LL KEEP COMPOSING THE IMAGE
HE'LL KEEP COMPOSING THE IMAGE UNTIL HE'S HAPPY WITH IT.
UNTIL HE'S HAPPY WITH IT.
THAT'S PRIMARILY WHERE I SEE
THAT'S PRIMARILY WHERE I SEE MOST OF HIS TIME SPENT.
MOST OF HIS TIME SPENT.
BUT HE'S MORE HANDS-ON IN COMING
BUT HE'S MORE HANDS-ON IN COMING IN DAILY AND GIVING US GUIDANCE
IN DAILY AND GIVING US GUIDANCE ON WHAT HE WANTS AND HOW TO
ON WHAT HE WANTS AND HOW TO EXECUTE IT TO MAKE IT LOOK LIKE
EXECUTE IT TO MAKE IT LOOK LIKE WHAT HE WANTS IT TO LOOK LIKE.
>> I THINK THE WAY ART COMES
>> I THINK THE WAY ART COMES INTO THE WORLD IS THROUGH
INTO THE WORLD IS THROUGH A METAPHYSICAL PROCESS.
A METAPHYSICAL PROCESS.
IF YOU TRY TO CREATE ART,
IF YOU TRY TO CREATE ART, IT'S A DECORATIVE PROCESS.
IT'S A DECORATIVE PROCESS.
YOU'RE JUST WASTING TIME,
YOU'RE JUST WASTING TIME, SPINNING GEARS UNTIL YOU GET SO
SPINNING GEARS UNTIL YOU GET SO BORED WITH YOURSELF THAT YOU
BORED WITH YOURSELF THAT YOU JUST STOP THE PROCESS AND SAY,
JUST STOP THE PROCESS AND SAY, "OKAY, WHAT DO I REALLY WANT
"OKAY, WHAT DO I REALLY WANT TO DO?
TO DO?
WHAT AM I INTERESTED IN?"
WHAT AM I INTERESTED IN?"
AND YOU FOCUS ON IT, AND BEFORE
AND YOU FOCUS ON IT, AND BEFORE YOU KNOW IT, YOU'RE IN THAT
YOU KNOW IT, YOU'RE IN THAT METAPHYSICAL PLACE.
THAT'S
THAT'S PROBABLY ONE OF MY KIND OF
PROBABLY ONE OF MY KIND OF DARKER WORKS, AND I WORKED WITH
DARKER WORKS, AND I WORKED WITH WOOD BECAUSE I WANTED TO WORK
WOOD BECAUSE I WANTED TO WORK WITH A MATERIAL THAT HAD
WITH A MATERIAL THAT HAD A SPIRITUAL SIDE,
A SPIRITUAL SIDE, THAT'S A LIVING MATERIAL.
THAT'S A LIVING MATERIAL.
IT KEEPS MOVING.
IT KEEPS MOVING.
THE CHURCH HAS USED IT FOR
THE CHURCH HAS USED IT FOR A VERY KIND OF SPIRITUAL ASPECT
A VERY KIND OF SPIRITUAL ASPECT TO ITS NATURE.
TO ITS NATURE.
IS AN IMAGE
IS AN IMAGE OF A BEAR THAT'S REALLY KIND OF
OF A BEAR THAT'S REALLY KIND OF OUTGROWN THE SYMBOL OF
OUTGROWN THE SYMBOL OF AUTHORITY, AND IT'S LARGER THAN
AUTHORITY, AND IT'S LARGER THAN THE BOBBY, THE POLICEMAN BOBBY
THE BOBBY, THE POLICEMAN BOBBY THAT'S THERE.
THAT'S THERE.
AND IT'S READY TO BLOW THE
AND IT'S READY TO BLOW THE BOBBY'S WHISTLE.
BOBBY'S WHISTLE.
THERE IS KIND OF A SENSE OF
THERE IS KIND OF A SENSE OF SEXUAL HUMILIATION THERE THROUGH
SEXUAL HUMILIATION THERE THROUGH OVERPOWERING THE BOBBY, AND THAT
OVERPOWERING THE BOBBY, AND THAT PIECE, FOR ME, IS REALLY
PIECE, FOR ME, IS REALLY SPEAKING ABOUT THAT, YOU KNOW,
SPEAKING ABOUT THAT, YOU KNOW, ART SHOULD BE SOMETHING REALLY
ART SHOULD BE SOMETHING REALLY POWERFUL.
POWERFUL.
ARTISTS SHOULD EMBRACE ALL THE
ARTISTS SHOULD EMBRACE ALL THE TOOLS OF ART TO COMMUNICATE AS
TOOLS OF ART TO COMMUNICATE AS STRONGLY AS POSSIBLE,
STRONGLY AS POSSIBLE, AS CLEARLY AS POSSIBLE WITH AS
AS CLEARLY AS POSSIBLE WITH AS MUCH A VIRILE QUALITY.
MUCH A VIRILE QUALITY.
BUT AT THE SAME TIME,
BUT AT THE SAME TIME, THERE'S A MORALITY THAT COMES
THERE'S A MORALITY THAT COMES ALONG WITH THAT, AND THAT'S JUST
ALONG WITH THAT, AND THAT'S JUST THE RESPECT OF OTHER PEOPLE,
THE RESPECT OF OTHER PEOPLE, THAT THEIR RIGHTS ARE EQUAL
THAT THEIR RIGHTS ARE EQUAL TO YOURS.
TO YOURS.
BEAR AND POLICEMAN
BEAR AND POLICEMAN WAS ALWAYS LIKE ART HAVING THAT
WAS ALWAYS LIKE ART HAVING THAT POWER BUT BEING MISUSED AND
POWER BUT BEING MISUSED AND GOING OUT OF CONTROL.
GOING OUT OF CONTROL.
AND IT ALWAYS REMINDED ME, LIKE,
AND IT ALWAYS REMINDED ME, LIKE, OF HITLER.
OF HITLER.
SO I WAS TRYING TO COMMUNICATE,
SO I WAS TRYING TO COMMUNICATE, AGAIN, ARTISTS SHOULD EMBRACE
AGAIN, ARTISTS SHOULD EMBRACE ALL THE POWERS OF ART, BUT
ALL THE POWERS OF ART, BUT THERE'S A MORAL RESPONSIBILITY
THERE'S A MORAL RESPONSIBILITY THAT COMES WITH IT.
IS ALSO
IS ALSO FROM THE BANALITY SERIES.
FROM THE BANALITY SERIES.
IT'S ALSO MADE OUT OF WOOD.
IT'S ALSO MADE OUT OF WOOD.
I ALWAYS FELT THAT IT WAS
I ALWAYS FELT THAT IT WAS A LITTLE AUTOBIOGRAPHICAL.
A LITTLE AUTOBIOGRAPHICAL.
THE YOUNG BOY IN THE BACK
THE YOUNG BOY IN THE BACK PUSHING THE PIG, I ALWAYS
PUSHING THE PIG, I ALWAYS THOUGHT OF AS MYSELF PUSHING IN
THOUGHT OF AS MYSELF PUSHING IN THIS BELIEF OF REALLY TRYING TO
THIS BELIEF OF REALLY TRYING TO MAKE WORK THAT WOULD COMMUNICATE
MAKE WORK THAT WOULD COMMUNICATE TO PEOPLE THAT THEIR OWN
TO PEOPLE THAT THEIR OWN CULTURAL HISTORY TO THAT MOMENT
CULTURAL HISTORY TO THAT MOMENT WAS PERFECT, ABSOLUTELY PERFECT.
WAS PERFECT, ABSOLUTELY PERFECT.
CULTURAL HISTORY, PERSONAL
CULTURAL HISTORY, PERSONAL HISTORY, EVERYTHING IS PERFECT,
HISTORY, EVERYTHING IS PERFECT, AND THAT THAT WOULD GIVE THEM
AND THAT THAT WOULD GIVE THEM A FOUNDATION TO MOVE FORWARD
A FOUNDATION TO MOVE FORWARD IN LIFE.
IN LIFE.
YOU KNOW, ART CAN BE SOMETHING
YOU KNOW, ART CAN BE SOMETHING WHICH CAN REALLY DISEMPOWER
WHICH CAN REALLY DISEMPOWER PEOPLE AND CAN MAKE THEM FEEL
PEOPLE AND CAN MAKE THEM FEEL COMPLETELY INFERIOR--AND SOME
COMPLETELY INFERIOR--AND SOME PEOPLE CAN GET A SENSE OF POWER
PEOPLE CAN GET A SENSE OF POWER FROM THAT--OR IT CAN BE
FROM THAT--OR IT CAN BE A VEHICLE WHICH CAN
A VEHICLE WHICH CAN EMPOWER PEOPLE.
EMPOWER PEOPLE.
AND I ALSO GET A SENSE OF POWER
AND I ALSO GET A SENSE OF POWER FROM EMPOWERING.
FROM EMPOWERING.
THERE ARE THEATRICAL ASPECTS
THERE ARE THEATRICAL ASPECTS TAKING PLACE IN VERSAILLES.
TAKING PLACE IN VERSAILLES.
MY ARTWORKS WANT TO SHOW
MY ARTWORKS WANT TO SHOW THEMSELVES.
THEMSELVES.
THE ARTWORKS ARE EXTROVERTED.
THE ARTWORKS ARE EXTROVERTED.
THE MAJOR SALONS ARE ABOUT
THE MAJOR SALONS ARE ABOUT PUBLIC INTERACTION.
PUBLIC INTERACTION.
IT'S FOR THE PUBLIC TO BE THERE.
IT'S FOR THE PUBLIC TO BE THERE.
I HAD TO POSITION MYSELF IN
I HAD TO POSITION MYSELF IN A CERTAIN WAY EVEN TO BE
A CERTAIN WAY EVEN TO BE ACCEPTED WITHIN THAT SITUATION
ACCEPTED WITHIN THAT SITUATION OF LOUIS XIV, JUST LIKE ANY
OF LOUIS XIV, JUST LIKE ANY ARTIST OF THE COURT WOULD HAVE
ARTIST OF THE COURT WOULD HAVE TO PRESENT THEMSELF IN A CERTAIN
TO PRESENT THEMSELF IN A CERTAIN WAY.
WAY.
THE WAY I DID THAT, I SHOWED MY
THE WAY I DID THAT, I SHOWED MY SELF-PORTRAIT BUST, AND I PUT
SELF-PORTRAIT BUST, AND I PUT THE BUST ON TOP OF A PLINTH THAT
THE BUST ON TOP OF A PLINTH THAT WAS DESIGNED BY BERNINI, SO IT
WAS DESIGNED BY BERNINI, SO IT WAS QUITE HIGH.
WAS QUITE HIGH.
IT WAS PROBABLY ABOUT 11 FEET UP
IT WAS PROBABLY ABOUT 11 FEET UP IN THE AIR.
IN THE AIR.
AND I REMEMBER WHEN I MADE THIS
AND I REMEMBER WHEN I MADE THIS SUGGESTION, SOME OF THE
SUGGESTION, SOME OF THE ASSISTANTS AT VERSAILLES STARTED
ASSISTANTS AT VERSAILLES STARTED TO GIGGLE.
TO GIGGLE.
THEY THOUGHT, "HOW COULD HE DO
THEY THOUGHT, "HOW COULD HE DO THAT?
THAT?
HOW COULD HE, YOU KNOW, PUT
HOW COULD HE, YOU KNOW, PUT HIMSELF ON SUCH A POSITION LIKE
HIMSELF ON SUCH A POSITION LIKE THAT ON A BERNINI BASE?"
THAT ON A BERNINI BASE?"
BUT I REALIZED THAT THAT WAS
BUT I REALIZED THAT THAT WAS KIND OF NECESSARY, AND THAT WAS
KIND OF NECESSARY, AND THAT WAS ACROSS FROM THE PORTRAIT OF
ACROSS FROM THE PORTRAIT OF LOUIS XIV BY RIGAUD, AND I THINK
LOUIS XIV BY RIGAUD, AND I THINK IT WORKED, AND I THINK LOUIS XIV
IT WORKED, AND I THINK LOUIS XIV APPRECIATED IT.
APPRECIATED IT.
WHEN I'M AT VERSAILLES, IT NEVER
WHEN I'M AT VERSAILLES, IT NEVER REALLY SEEMS TO BE ABOUT EXCESS,
REALLY SEEMS TO BE ABOUT EXCESS, BECAUSE IT SEEMS TO BE ABOUT
BECAUSE IT SEEMS TO BE ABOUT DETAIL AND ENJOYING THE DETAIL.
I REALLY ENJOYED THE LOBSTER
I REALLY ENJOYED THE LOBSTER HANGING--I THINK IT WAS IN THE
HANGING--I THINK IT WAS IN THE SALON DE MARS.
SALON DE MARS.
IF YOU LOOK AT THE LOBSTER, IT'S
IF YOU LOOK AT THE LOBSTER, IT'S A LITTLE BIT LIKE A PERFORMER,
A LITTLE BIT LIKE A PERFORMER, LIKE AN ACROBAT, KIND OF BROAD
LIKE AN ACROBAT, KIND OF BROAD ARMS, AND THE TENTACLES ARE LIKE
ARMS, AND THE TENTACLES ARE LIKE A MUSTACHE.
A MUSTACHE.
BUT IF YOU LOOK CLOSELY, THE
BUT IF YOU LOOK CLOSELY, THE GRAPHICS ON THE LOBSTER ARE LIKE
GRAPHICS ON THE LOBSTER ARE LIKE SOMEBODY BEING BURNED AT THE
SOMEBODY BEING BURNED AT THE STAKE.
STAKE.
SO YOU ALSO HAVE THIS SENSE THAT
SO YOU ALSO HAVE THIS SENSE THAT IF YOU'RE IN THE PUBLIC EYE LONG
IF YOU'RE IN THE PUBLIC EYE LONG ENOUGH, THAT'S AN INEVITABLE
ENOUGH, THAT'S AN INEVITABLE FATE.
TO BE ABLE TO HAVE AN EXHIBITION
TO BE ABLE TO HAVE AN EXHIBITION AT VERSAILLES, IT'S REALLY
AT VERSAILLES, IT'S REALLY A SPECIAL OPPORTUNITY.
I SPENT ABOUT FIVE WEEKS OF THE
I SPENT ABOUT FIVE WEEKS OF THE SUMMER BEING IN THE GARDENS AND
SUMMER BEING IN THE GARDENS AND GOING THROUGH THE PALACE, AND
GOING THROUGH THE PALACE, AND SPLIT ROCKER.
SPLIT ROCKER.
THERE ARE 90,000 FLOWERS, AND I
THERE ARE 90,000 FLOWERS, AND I WORKED WITH A TEAM OF GARDENERS
WORKED WITH A TEAM OF GARDENERS FROM VERSAILLES.
FROM VERSAILLES.
AND THIS WAS THE FIRST TIME THAT
AND THIS WAS THE FIRST TIME THAT I EVER PLANTED A FLORAL PIECE
I EVER PLANTED A FLORAL PIECE COMPLETELY MATHEMATICALLY.
COMPLETELY MATHEMATICALLY.
IT'S BASED ON A PATTERN OF FIVE
IT'S BASED ON A PATTERN OF FIVE PLANTS.
PLANTS.
I HAVE DIFFERENT LIGHT COLORS
I HAVE DIFFERENT LIGHT COLORS AND DARK COLORS AND MID COLORS.
AND DARK COLORS AND MID COLORS.
BUT IT'S ALL DONE IN
BUT IT'S ALL DONE IN MATHEMATICAL PATTERNS,
MATHEMATICAL PATTERNS, AND I NEVER DID THAT BEFORE.
AND I NEVER DID THAT BEFORE.
I THOUGHT THAT WAS REALLY
I THOUGHT THAT WAS REALLY APPROPRIATE FOR VERSAILLES.
APPROPRIATE FOR VERSAILLES.
>> [speaking French]
>> [speaking French]
>> ONE OF THE THINGS THAT I CAME
>> ONE OF THE THINGS THAT I CAME TO REALIZE IN THIS LAST YEAR--
TO REALIZE IN THIS LAST YEAR-- I HAD SEVERAL MAJOR EXHIBITIONS.
I HAD SEVERAL MAJOR EXHIBITIONS.
I HAD A SHOW AT CHICAGO AT THE
I HAD A SHOW AT CHICAGO AT THE MUSEUM OF CONTEMPORARY ART.
MUSEUM OF CONTEMPORARY ART.
I HAD THE SHOW ON THE ROOF OF
I HAD THE SHOW ON THE ROOF OF THE METROPOLITAN IN NEW YORK,
THE METROPOLITAN IN NEW YORK, EXHIBITION AT VERSAILLES,
EXHIBITION AT VERSAILLES, AND THEN ALSO AT THE
AND THEN ALSO AT THE IN BERLIN.
IN BERLIN.
I HAD A CHANCE TO SEE DIFFERENT
I HAD A CHANCE TO SEE DIFFERENT BODIES OF WORK INTER-REACTING
BODIES OF WORK INTER-REACTING WITH EACH OTHER.
WITH EACH OTHER.
THE IMAGES CAN CHANGE A LOT.
THE IMAGES CAN CHANGE A LOT.
THE REASON FOR MAKING SOMETHING
THE REASON FOR MAKING SOMETHING CAN CHANGE.
CAN CHANGE.
SOME THINGS CAN BE MORE
SOME THINGS CAN BE MORE CEREBRAL.
CEREBRAL.
OTHER ONES CAN BE MORE PHYSICAL.
OTHER ONES CAN BE MORE PHYSICAL.
BUT WHAT DOESN'T CHANGE IS THAT
BUT WHAT DOESN'T CHANGE IS THAT REASON FOR MAKING THEM,
REASON FOR MAKING THEM, THAT DESIRE TO BE IN THAT MOMENT
THAT DESIRE TO BE IN THAT MOMENT OF THAT TIME WHEN YOU WANT TO
OF THAT TIME WHEN YOU WANT TO MAKE SOMETHING, JUST DIVING
MAKE SOMETHING, JUST DIVING IN, THAT KIND OF SENSE OF
IN, THAT KIND OF SENSE OF ABANDONMENT OF KIND OF ANY DOUBT
ABANDONMENT OF KIND OF ANY DOUBT AND JUST GOING FOR IT.
AND JUST GOING FOR IT.
AND THAT'S REALLY WHAT'S
AND THAT'S REALLY WHAT'S IMPORTANT TO ME AS THE VIEWER
IMPORTANT TO ME AS THE VIEWER IN THIS CASE.
IN THIS CASE.
I KNOW THAT OTHER VIEWERS CAN
I KNOW THAT OTHER VIEWERS CAN LOOK AT IT, AND THEY CAN FEEL
LOOK AT IT, AND THEY CAN FEEL SOMETHING, BUT I HOPE THAT THE
SOMETHING, BUT I HOPE THAT THE MAIN CHARGE THAT THEY'RE GETTING
MAIN CHARGE THAT THEY'RE GETTING IS THAT SENSE OF COMMITMENT OF
IS THAT SENSE OF COMMITMENT OF MOVING FORWARD ON SOMETHING,
MOVING FORWARD ON SOMETHING, THAT COMMITMENT OF GESTURE.
[soft electronic music]
[soft electronic music] >> I ALWAYS WANTED A LOT
>> I ALWAYS WANTED A LOT OF ATTENTION.
OF ATTENTION.
I HAD TAKEN BALLET LESSONS
I HAD TAKEN BALLET LESSONS AS A CHILD.
AS A CHILD.
I WANTED TO BE A FAMOUS
I WANTED TO BE A FAMOUS SWAN LAKE.
SWAN LAKE.
I WANTED EVERYONE LOOKING AT ME.
I WANTED EVERYONE LOOKING AT ME.
THEN I WANTED TO BE SPINNING,
THEN I WANTED TO BE SPINNING, DOING SOMERSAULTS OFF THE DIVING
DOING SOMERSAULTS OFF THE DIVING TOWER IN LOS ANGELES.
TOWER IN LOS ANGELES.
AND PEOPLE LOOK AT YOU WHEN YOU
AND PEOPLE LOOK AT YOU WHEN YOU DO THAT.
DO THAT.
WHEN I TOLD MY MOTHER I WANTED
WHEN I TOLD MY MOTHER I WANTED TO BE AN ARTIST, SHE SAID,
TO BE AN ARTIST, SHE SAID, "YOU'LL STARVE IN A GARRET."
"YOU'LL STARVE IN A GARRET."
AND IN MY MIND, I THOUGHT, "YES,
AND IN MY MIND, I THOUGHT, "YES, THAT'S EXACTLY WHAT I WANTED."
THAT'S EXACTLY WHAT I WANTED."
IT TURNS OUT THAT IT WAS REALLY
IT TURNS OUT THAT IT WAS REALLY A MISSION I WAS ON, AND IT WAS
A MISSION I WAS ON, AND IT WAS JUST ABOUT THE ONLY THING
JUST ABOUT THE ONLY THING I THOUGHT ABOUT: DOING ART.
WHILE I WAS AT SAN FRANCISCO
WHILE I WAS AT SAN FRANCISCO STATE, STUDYING EDUCATION,
STATE, STUDYING EDUCATION, I STARTED DOING CERAMICS.
I STARTED DOING CERAMICS.
SO I'M DOING MY ENGLISH,
SO I'M DOING MY ENGLISH, MY LITERATURE, MY WRITING,
MY LITERATURE, MY WRITING, AND THEN STARTED DOING POTTERY,
AND THEN STARTED DOING POTTERY, AND I WAS VERY GOOD AT THAT.
AND I WAS VERY GOOD AT THAT.
IN SOUTHERN CALIFORNIA IN THE
IN SOUTHERN CALIFORNIA IN THE EARLY '60s, BIG STUFF WAS
EARLY '60s, BIG STUFF WAS HAPPENING IN CERAMICS.
HAPPENING IN CERAMICS.
SO I WENT UP TO BERKELEY TO
SO I WENT UP TO BERKELEY TO GRADUATE SCHOOL, AND THEN WE'RE
GRADUATE SCHOOL, AND THEN WE'RE DOING SORT OF AN ABSTRACT
DOING SORT OF AN ABSTRACT EXPRESSIONIST CERAMIC SCULPTURE,
EXPRESSIONIST CERAMIC SCULPTURE, HUGE SCALE, TREMENDOUS AMOUNT OF
HUGE SCALE, TREMENDOUS AMOUNT OF CRAFT INVOLVED IN MAKING THESE
CRAFT INVOLVED IN MAKING THESE THINGS AND FIRING THEM AND
THINGS AND FIRING THEM AND GLAZING THEM.
GLAZING THEM.
THEN I GET TO KNOW BRUCE NAUMAN,
THEN I GET TO KNOW BRUCE NAUMAN, WHO'S ALSO IN SCHOOL AT THE SAME
WHO'S ALSO IN SCHOOL AT THE SAME TIME UP AT DAVIS, AND THE REST
TIME UP AT DAVIS, AND THE REST IS HISTORY.
IS HISTORY.
THE TEACHERS IN THE SCHOOL HATED
THE TEACHERS IN THE SCHOOL HATED THE SCULPTURE I MADE.
THE SCULPTURE I MADE.
THEY ALMOST KICKED ME OUT.
THEY ALMOST KICKED ME OUT.
SO THEN I WENT UP TO DAVIS TO
SO THEN I WENT UP TO DAVIS TO WORK WITH WILLIAM WILEY, WHO WAS
WORK WITH WILLIAM WILEY, WHO WAS BRUCE'S TEACHER, AND THEN THE
BRUCE'S TEACHER, AND THEN THE THREE OF US SPENT TIME TOGETHER
THREE OF US SPENT TIME TOGETHER TALKING ABOUT IDEAS, AND THAT'S
TALKING ABOUT IDEAS, AND THAT'S A REALLY IMPORTANT PART OF MY
A REALLY IMPORTANT PART OF MY LIFE.
LIFE.
IT WAS JUST WONDERFUL.
IN THE BEGINNING, THE ART
IN THE BEGINNING, THE ART ENTERPRISE WAS DOING SOMETHING
ENTERPRISE WAS DOING SOMETHING IMPORTANT, BEAUTIFUL, SORT OF
IMPORTANT, BEAUTIFUL, SORT OF ALL BY YOURSELF.
ALL BY YOURSELF.
AS I GOT INTO IT AND MATURED,
AS I GOT INTO IT AND MATURED, I SAW THAT THE MOST IMPORTANT
I SAW THAT THE MOST IMPORTANT THING ABOUT DOING ARTWORK WAS
THING ABOUT DOING ARTWORK WAS COMMUNICATING AND HAVING
COMMUNICATING AND HAVING SOMETHING LIKE A CONVERSATION
SOMETHING LIKE A CONVERSATION THROUGH THE WORK.
THROUGH THE WORK.
I THOUGHT ABOUT MAKING PIECES
I THOUGHT ABOUT MAKING PIECES PARTLY FOR THEIR FORMAL VALUES
PARTLY FOR THEIR FORMAL VALUES BUT ALSO VERY MUCH FOR THE KIND
BUT ALSO VERY MUCH FOR THE KIND OF A RESPONSE I WOULD GET.
OF A RESPONSE I WOULD GET.
AND OFTEN, THE RESPONSE THAT
AND OFTEN, THE RESPONSE THAT I WANTED WAS ONE OF ANTAGONISM.
I WANTED WAS ONE OF ANTAGONISM.
I WANTED TO CAUSE TROUBLE.
I WANTED TO CAUSE TROUBLE.
AND THAT CAUSED ME TROUBLE IN
AND THAT CAUSED ME TROUBLE IN GRADUATE SCHOOL, BECAUSE BY THAT
GRADUATE SCHOOL, BECAUSE BY THAT TIME, I HAD FIGURED OUT THAT
TIME, I HAD FIGURED OUT THAT I WANTED TO BE ON THE EDGE,
I WANTED TO BE ON THE EDGE, ORIGINAL, AND THAT MEANT GOING
ORIGINAL, AND THAT MEANT GOING AGAINST THE STATUS QUO.
I DECIDED TO SWITCH MY PRACTICE
I DECIDED TO SWITCH MY PRACTICE OVER TO BEING A PAINTER, AND
OVER TO BEING A PAINTER, AND THEN I STARTED MAKING PAINTINGS,
THEN I STARTED MAKING PAINTINGS, WHICH REALLY EVOLVED OUT OF THE
WHICH REALLY EVOLVED OUT OF THE SCULPTURE.
SCULPTURE.
THE REASON THEY'RE PAINTED ON
THE REASON THEY'RE PAINTED ON THE SIDE IS BECAUSE, FIRST,
THE SIDE IS BECAUSE, FIRST, THEY'RE OBJECTS, AND THEN
THEY'RE OBJECTS, AND THEN THEY'RE PICTURES OF SOMETHING.
LATER ON, IT WAS THE EARLY '90s,
LATER ON, IT WAS THE EARLY '90s, AND THERE WAS A BIG RECESSION
AND THERE WAS A BIG RECESSION ON, AND THE ART MAGAZINES WOULD
ON, AND THE ART MAGAZINES WOULD HAVE ARTISTS WRITE PIECES, AND
HAVE ARTISTS WRITE PIECES, AND WE DIDN'T GET PAID, AND SO I
WE DIDN'T GET PAID, AND SO I STARTED WRITING ABOUT MY WORK,
STARTED WRITING ABOUT MY WORK, AND WHEN PEOPLE WOULD SEE AN
AND WHEN PEOPLE WOULD SEE AN IMAGE AND THEN READ THE WRITING,
IMAGE AND THEN READ THE WRITING, THEY STARTED TO LIKE MY WORK.
THEY STARTED TO LIKE MY WORK.
THEN I STARTED DOING THE TITLES,
THEN I STARTED DOING THE TITLES, WRITING PIECES FOR CATALOGS,
WRITING PIECES FOR CATALOGS, WRITING PIECES FOR MAGAZINES,
WRITING PIECES FOR MAGAZINES, AND THE WRITING PRACTICE AND THE
AND THE WRITING PRACTICE AND THE ART PRACTICE ARE REALLY GOING
ART PRACTICE ARE REALLY GOING HAND IN HAND NOW.
HAND IN HAND NOW.
EVERY PIECE OF ABSTRACT ART THAT
EVERY PIECE OF ABSTRACT ART THAT I MAKE HAS A BACKSTORY, AND NOW
I MAKE HAS A BACKSTORY, AND NOW I STARTED GIVING THEM THESE
I STARTED GIVING THEM THESE FANCIFUL TITLES THAT RELATED TO
FANCIFUL TITLES THAT RELATED TO SOMETHING THAT WAS GOING ON
SOMETHING THAT WAS GOING ON WITH ME.
WITH ME.
SO THE TITLES ARE OFTEN LIKE
SO THE TITLES ARE OFTEN LIKE A THREE-WORD POEM THAT IS A PART
A THREE-WORD POEM THAT IS A PART OF THE PIECE.
OF THE PIECE.
I DO KEEP A DIARY, AND I CAN
I DO KEEP A DIARY, AND I CAN LOOK BACK AND SEE WHAT WAS GOING
LOOK BACK AND SEE WHAT WAS GOING ON, AND I LIKE TO DO THAT.
ON, AND I LIKE TO DO THAT.
AND ACTUALLY, REMEMBERING AND
AND ACTUALLY, REMEMBERING AND THEN IN THE ART EXPRESSING
THEN IN THE ART EXPRESSING EMOTION IS SOMETHING THAT I LIKE
EMOTION IS SOMETHING THAT I LIKE TO DO.
TO DO.
THE TITLES HELP WITH THAT.
THE TITLES HELP WITH THAT.
THE COLOR HELPS.
THE COLOR HELPS.
AND THEN THE MUSIC METAPHOR IS
AND THEN THE MUSIC METAPHOR IS SOMETHING I THINK ABOUT WHEN
SOMETHING I THINK ABOUT WHEN I TRY TO PUT EMOTION INTO
I TRY TO PUT EMOTION INTO ABSTRACT WORK.
ABSTRACT WORK.
SCALE DOES IT.
SCALE DOES IT.
THE RELATION OF PARTS TO THE
THE RELATION OF PARTS TO THE WHOLE PIECE GIVE A FEELING OF
WHOLE PIECE GIVE A FEELING OF FEELING--LOSS, LONELINESS,
FEELING--LOSS, LONELINESS, CLAUSTROPHOBIA, AGORAPHOBIA,
CLAUSTROPHOBIA, AGORAPHOBIA, FREE, FREEDOM, LIFTED SPIRIT
FREE, FREEDOM, LIFTED SPIRIT TYPE OF FEELING, MELANCHOLY AND
TYPE OF FEELING, MELANCHOLY AND JOY MAYBE IN THE SAME PIECE.
JOY MAYBE IN THE SAME PIECE.
AND THE TITLES HELP.
AND THE TITLES HELP.
VERY POST-MODERN HERE, MIXING MY
VERY POST-MODERN HERE, MIXING MY DOUBLE GREENS.
DOUBLE GREENS.
WELL, ONE THING THAT REALLY
WELL, ONE THING THAT REALLY INTERESTS ME IS--AND IT COMES
INTERESTS ME IS--AND IT COMES OUT OF CHINESE AND JAPANESE
OUT OF CHINESE AND JAPANESE PAINTING--IS WHERE YOU HAVE
PAINTING--IS WHERE YOU HAVE A NUMBER OF DIFFERENT KINDS OF
A NUMBER OF DIFFERENT KINDS OF SPACE IN THE SAME PAINTING.
SPACE IN THE SAME PAINTING.
YOU HAVE A KIND OF DEEP SPACE,
YOU HAVE A KIND OF DEEP SPACE, AND THEN YOU HAVE SOMETHING LIKE
AND THEN YOU HAVE SOMETHING LIKE RIGHT UP ON THE SURFACE.
RIGHT UP ON THE SURFACE.
THIS PAINTING THAT WE WERE
THIS PAINTING THAT WE WERE PAINTING ON TODAY HAS THAT.
PAINTING ON TODAY HAS THAT.
IT HAS THE CONVERGING LINES
IT HAS THE CONVERGING LINES GOING OFF INTO SPACE AND THEN
GOING OFF INTO SPACE AND THEN THE DRIP COMING DOWN THE FACE OF
THE DRIP COMING DOWN THE FACE OF THE PAINTING, WHICH IS, LIKE,
THE PAINTING, WHICH IS, LIKE, FLAT.
FLAT.
NOW THE FAKE DRIP.
NOW THE FAKE DRIP.
SO THAT THERE ARE TWO REALITIES
SO THAT THERE ARE TWO REALITIES GOING ON IN THE SAME PAINTING.
ANOTHER THING THAT SPEAKS TO
ANOTHER THING THAT SPEAKS TO THAT IS THESE PAINTINGS THAT ARE
THAT IS THESE PAINTINGS THAT ARE ON THIS DOUBLE SQUARE SHAPED
ON THIS DOUBLE SQUARE SHAPED CANVAS, AND OFTEN I PUT A DEEP
CANVAS, AND OFTEN I PUT A DEEP SPACE KIND OF MOTIF ON A SHAPED
SPACE KIND OF MOTIF ON A SHAPED CANVAS LIKE THAT, AND THEN THE
CANVAS LIKE THAT, AND THEN THE TWO SQUARES THAT ARE THE EMPTY
TWO SQUARES THAT ARE THE EMPTY SPACE MAKE THE WALL BE PART OF
SPACE MAKE THE WALL BE PART OF THE PAINTING.
THE PAINTING.
OF COURSE, THEN YOU GET REAL
OF COURSE, THEN YOU GET REAL SPACE AND THEN THE FAKE SPACE
SPACE AND THEN THE FAKE SPACE AND THEN ALSO THE PHYSICAL
AND THEN ALSO THE PHYSICAL OBJECT THAT'S THE CANVAS.
OBJECT THAT'S THE CANVAS.
SO THERE YOU'VE GOT THREE KINDS
SO THERE YOU'VE GOT THREE KINDS OF SPACE IN THE SAME PAINTING.
OF SPACE IN THE SAME PAINTING.
THE SHAPED CANVAS COMES OUT OF
THE SHAPED CANVAS COMES OUT OF MY OWN THINKING ABOUT GEOMETRY.
MY OWN THINKING ABOUT GEOMETRY.
LIKE, A LOT OF MY FIGURING OUT
LIKE, A LOT OF MY FIGURING OUT WHAT TO MAKE TIME IS SPENT BY
WHAT TO MAKE TIME IS SPENT BY SORT OF DOING SOME BASIC
SORT OF DOING SOME BASIC COUNTING AND MEASURING AND
COUNTING AND MEASURING AND TRYING TO FIGURE OUT HOW BIG
TRYING TO FIGURE OUT HOW BIG DIFFERENT ELEMENTS OF A PIECE
DIFFERENT ELEMENTS OF A PIECE SHOULD BE.
SHOULD BE.
THIS VANISHING POINT PAINTING
THIS VANISHING POINT PAINTING THAT I'VE MADE, WHICH IS CALLED
THAT I'VE MADE, WHICH IS CALLED I LOVE IT.
I LOVE IT.
IT'S ONE BLACK THING WITH TWO
IT'S ONE BLACK THING WITH TWO LITTLE LINES ON IT.
LITTLE LINES ON IT.
I THINK THAT'S IT.
I THINK THAT'S IT.
SO LET'S SEE HOW THAT LOOKS.
SO LET'S SEE HOW THAT LOOKS.
I'VE PROBABLY BEEN THINKING
I'VE PROBABLY BEEN THINKING ABOUT IT FOR FOUR MONTHS, TRYING
ABOUT IT FOR FOUR MONTHS, TRYING TO FIGURE OUT HOW TO GET THAT
TO FIGURE OUT HOW TO GET THAT JUST RIGHT, AND I THINK I'VE GOT
JUST RIGHT, AND I THINK I'VE GOT IT.
IT.
TWO-LANE BLACK TOP.
TWO-LANE BLACK TOP.
AND ONCE I GET THAT, I THINK
AND ONCE I GET THAT, I THINK I'LL MAKE ABOUT 12 OF THOSE
I'LL MAKE ABOUT 12 OF THOSE PAINTINGS.
PAINTINGS.
[laughs]
[laughs] THESE SIMPLE IDEAS BECOME
THESE SIMPLE IDEAS BECOME OBSESSIONS, ALMOST LIKE
OBSESSIONS, ALMOST LIKE A MEDITATION.
A MEDITATION.
SIT DOWN HERE AND THINK ABOUT
SIT DOWN HERE AND THINK ABOUT HOW FABULOUS THAT IS.
HOW FABULOUS THAT IS.
MAYBE HAVE TO DO A FEW LITTLE
MAYBE HAVE TO DO A FEW LITTLE TOUCH-UPS ON IT, BUT THAT'S
TOUCH-UPS ON IT, BUT THAT'S PRETTY MUCH IT.
I TAKE PICTURES AND THEY'RE JUST
I TAKE PICTURES AND THEY'RE JUST IN THE BACK OF MY MIND.
IN THE BACK OF MY MIND.
I DON'T REALLY LOOK AT 'EM WHEN
I DON'T REALLY LOOK AT 'EM WHEN I'M PAINTING.
I'M PAINTING.
NOW, LATELY I'VE BEEN MAKING
NOW, LATELY I'VE BEEN MAKING SOME DIGITAL PRINTS, WHICH
SOME DIGITAL PRINTS, WHICH I COMBINE WITH ETCHING.
I COMBINE WITH ETCHING.
AND YOU GET THE IDEA OF THE TWO
AND YOU GET THE IDEA OF THE TWO KINDS OF WAY OF MAKING IMAGES.
KINDS OF WAY OF MAKING IMAGES.
AND I ALWAYS HAVE USED
AND I ALWAYS HAVE USED A SLIDESHOW WHEN I GIVE ARTIST
A SLIDESHOW WHEN I GIVE ARTIST TALKS.
TALKS.
THE SLIDESHOW INVOLVES USING
THE SLIDESHOW INVOLVES USING A LOT OF PHOTOGRAPHIC IMAGERY
A LOT OF PHOTOGRAPHIC IMAGERY WITH THE PAINTING IMAGES.
I'M A VERY HOLY LITTLE CATHOLIC
I'M A VERY HOLY LITTLE CATHOLIC GIRL AT ABOUT SIX, SEVEN, EIGHT
GIRL AT ABOUT SIX, SEVEN, EIGHT YEARS OLD, AND WHAT I WANTED TO
YEARS OLD, AND WHAT I WANTED TO DO WAS TO BE A MARTYR.
DO WAS TO BE A MARTYR.
AND I WOULD BE IN ROME IN THE
AND I WOULD BE IN ROME IN THE COLOSSEUM, AND THE LIONS WOULD
COLOSSEUM, AND THE LIONS WOULD COME RUNNING OUT, AND THEY'D GET
COME RUNNING OUT, AND THEY'D GET ME, AND THE AUDIENCE AT THE
ME, AND THE AUDIENCE AT THE COLOSSEUM, THE BAD ROMANS THAT
COLOSSEUM, THE BAD ROMANS THAT WERE KILLING THE CATHOLICS,
WERE KILLING THE CATHOLICS, WOULD BE CHEERING,
WOULD BE CHEERING, AND THEN I'D JUST GO FLYING UP
AND THEN I'D JUST GO FLYING UP STRAIGHT TO HEAVEN.
STRAIGHT TO HEAVEN.
CRAZY AS THE MARTYRDOM FANTASY
CRAZY AS THE MARTYRDOM FANTASY IS, IT JUST MADE SUCH A FABULOUS
IS, IT JUST MADE SUCH A FABULOUS STORY, AND THE WAY YOU FLEW UP
STORY, AND THE WAY YOU FLEW UP TO HEAVEN WAS SO FABULOUS.
TO HEAVEN WAS SO FABULOUS.
DIVING WAS NOT LIKE THAT.
DIVING WAS NOT LIKE THAT.
YOU DIDN'T FLY LIKE THAT WHEN
YOU DIDN'T FLY LIKE THAT WHEN YOU JUMPED OFF A 15-FOOT TOWER.
YOU JUMPED OFF A 15-FOOT TOWER.
YOU WENT DOWN REALLY FAST.
YOU WENT DOWN REALLY FAST.
I LOVED THE WHOLE CATHOLIC
I LOVED THE WHOLE CATHOLIC CULTURE AS A KID.
CULTURE AS A KID.
GROWING UP WITH THOSE KINDS OF
GROWING UP WITH THOSE KINDS OF STORIES HAS CARRIED ON INTO MY
STORIES HAS CARRIED ON INTO MY LIFE, THE WAY I THINK AND MAKE
LIFE, THE WAY I THINK AND MAKE UP THINGS NOW.
UP THINGS NOW.
AND THE FACT THAT AN OBJECT OF
AND THE FACT THAT AN OBJECT OF ART FEELS LIKE AN ICON IN THE
ART FEELS LIKE AN ICON IN THE WAY ICONS WERE WHEN I WAS LITTLE
WAY ICONS WERE WHEN I WAS LITTLE IS REALLY A TRUE THING.
IS REALLY A TRUE THING.
EACH THING ALMOST WORKS AS AN
EACH THING ALMOST WORKS AS AN ICON OR MAYBE AN IDEOGRAPH TO
ICON OR MAYBE AN IDEOGRAPH TO SAY ONE IDEA WHICH HAS RESONANCE
SAY ONE IDEA WHICH HAS RESONANCE AND MAKES YOU HAVE THOUGHTS
AND MAKES YOU HAVE THOUGHTS ABOUT OTHER IDEAS.
ABOUT OTHER IDEAS.
AND EVEN TALKING ABOUT, LIKE,
AND EVEN TALKING ABOUT, LIKE, SAY, THE DRIP AS AN ICON.
SAY, THE DRIP AS AN ICON.
COLOR CAN BE THOUGHT ABOUT IN AN
COLOR CAN BE THOUGHT ABOUT IN AN ICONOGRAPHIC WAY.
ICONOGRAPHIC WAY.
I DID DO A PAINTING BASED ON THE
I DID DO A PAINTING BASED ON THE MARTYRDOM OF ST. SEBASTIAN.
MARTYRDOM OF ST. SEBASTIAN.
ROSEBUD.
I HAVE A TREMENDOUS LOVE FOR THE
I HAVE A TREMENDOUS LOVE FOR THE SPIRITUAL PART OF LIFE, AND IT'S
SPIRITUAL PART OF LIFE, AND IT'S MORE ECUMENICAL NOW.
MORE ECUMENICAL NOW.
IT'S NOT SO SPECIFIC.
MY SPIRITUAL LIFE IS VERY
MY SPIRITUAL LIFE IS VERY IMPORTANT TO ME.
IMPORTANT TO ME.
AND I THINK THE ARTWORKS
AND I THINK THE ARTWORKS ARE ICONS.
ARE ICONS.
AND WHAT'S GREAT ABOUT AN
AND WHAT'S GREAT ABOUT AN ARTWORK IS THAT YOU CAN SIT
ARTWORK IS THAT YOU CAN SIT THERE AND LOOK AT IT AND
THERE AND LOOK AT IT AND MEDITATE AND THINK AND MAKE IT
MEDITATE AND THINK AND MAKE IT AND UNMAKE IT AND REMAKE IT
AND UNMAKE IT AND REMAKE IT ONE'S OWN OR ANYONE ELSE'S.
ONE'S OWN OR ANYONE ELSE'S.
THIS IS THE INVISIBLE PAINTING,
THIS IS THE INVISIBLE PAINTING, AND I'M HOPING THAT WHEN IT
AND I'M HOPING THAT WHEN IT HANGS ON THE WALL, BEING JUST
HANGS ON THE WALL, BEING JUST THESE TWO SLIGHTLY DIFFERENT
THESE TWO SLIGHTLY DIFFERENT COLORS OF WHITE, THAT IT WILL
COLORS OF WHITE, THAT IT WILL LOOK LIKE A BEAUTIFUL, MAGICAL
LOOK LIKE A BEAUTIFUL, MAGICAL HOLE IN THE WALL.
HOLE IN THE WALL.
VERY BAD TO TALK ABOUT IT BEFORE
VERY BAD TO TALK ABOUT IT BEFORE IT'S FINISHED.
IT'S FINISHED.
I GUESS MOSTLY THE STORIES AND
I GUESS MOSTLY THE STORIES AND THE IMAGES IS PROBABLY THE MAIN
THE IMAGES IS PROBABLY THE MAIN WAY THAT THIS KIND OF THINKING
WAY THAT THIS KIND OF THINKING ABOUT WORK RELATES TO
ABOUT WORK RELATES TO MY CHILDHOOD.
MY CHILDHOOD.
AN ARTWORK CAN TRANSPORT
AN ARTWORK CAN TRANSPORT A PERSON IN A SOULFUL, RICH WAY
A PERSON IN A SOULFUL, RICH WAY WITHOUT HAVING ANY FEAR OF
WITHOUT HAVING ANY FEAR OF PUNISHMENT OR HELL OR SIN OR ANY
PUNISHMENT OR HELL OR SIN OR ANY OF THOSE OTHER GOOD THINGS.
OF THOSE OTHER GOOD THINGS.
I AM GONNA LEAVE THAT
I AM GONNA LEAVE THAT POST-MODERN DRIP THERE.
[soft electronic music]
[soft electronic music] >> WE'RE IN EAST GERMANY,
>> WE'RE IN EAST GERMANY, IN STRALSUND, ALMOST TO THE
IN STRALSUND, ALMOST TO THE BORDER TO POLAND, FORMER GDR.
BORDER TO POLAND, FORMER GDR.
I'M TRYING TO RECAPTURE A VIEW
I'M TRYING TO RECAPTURE A VIEW OF AN OLD POSTCARD OF THE CITY
OF AN OLD POSTCARD OF THE CITY OF STRALSUND.
OF STRALSUND.
I TRY TO FIND IMAGES THAT I FIND
I TRY TO FIND IMAGES THAT I FIND INTERESTING, AND THEN I WORK MY
INTERESTING, AND THEN I WORK MY WAY UP FROM THOSE IMAGES.
WAY UP FROM THOSE IMAGES.
THE ACTUAL IMAGE THAT I GET
THE ACTUAL IMAGE THAT I GET FROM THE LAB THE NEXT DAY,
FROM THE LAB THE NEXT DAY, THAT'S ONLY HALF OF THE PROCESS.
THAT'S ONLY HALF OF THE PROCESS.
I WORK ON THE IMAGES A LOT
I WORK ON THE IMAGES A LOT AFTERWARDS.
AFTERWARDS.
I DRAW IN THEM.
I DRAW IN THEM.
I ENHANCE THEM, AND I CONSTRUCT
I ENHANCE THEM, AND I CONSTRUCT THEM TO A DEGREE THAT'S NOT
THEM TO A DEGREE THAT'S NOT NECESSARILY LINKED TO ACTUALITY
NECESSARILY LINKED TO ACTUALITY ANYMORE.
ANYMORE.
IT'S MORE LIKE AN IDEALIZED
IT'S MORE LIKE AN IDEALIZED IMAGE, LIKE MAYBE THE WAY
IMAGE, LIKE MAYBE THE WAY POSTCARDS USED TO WORK.
POSTCARDS USED TO WORK.
SOMETIMES I WORK ON THE IMAGES
SOMETIMES I WORK ON THE IMAGES JUST A WEEK.
JUST A WEEK.
SOMETIMES IT TAKES MONTHS.
I'M NOT SURE HOW IT'S GONNA WORK
I'M NOT SURE HOW IT'S GONNA WORK OUT TODAY, BUT THE VIEW IS GOOD.
OUT TODAY, BUT THE VIEW IS GOOD.
THERE'S NO FOG, AND IT'S ALMOST
THERE'S NO FOG, AND IT'S ALMOST AS I EXPECTED IT.
THAT'S THE REFERENCE.
THAT'S THE REFERENCE.
IT'S AN OLD PHOTOGRAPH OF
IT'S AN OLD PHOTOGRAPH OF STRALSUND BACK IN GDR TIMES,
STRALSUND BACK IN GDR TIMES, CIRCA 1970.
CIRCA 1970.
I LIKE IT BECAUSE IT'S VERY
I LIKE IT BECAUSE IT'S VERY SPARSELY LIT.
SPARSELY LIT.
IT'S VERY MINIMAL.
IT'S VERY MINIMAL.
YOU STILL HAVE THOSE GOTHIC
YOU STILL HAVE THOSE GOTHIC CATHEDRALS IN THE BACKGROUND,
CATHEDRALS IN THE BACKGROUND, BUT THEN IN THE FRONT YOU HAVE
BUT THEN IN THE FRONT YOU HAVE FUNCTIONAL BUILDINGS, BASIC
FUNCTIONAL BUILDINGS, BASIC SHAPES.
SHAPES.
AND THEN IT'S VERY BASIC.
AND THEN IT'S VERY BASIC.
IMAGE CUTS IN HALF.
IMAGE CUTS IN HALF.
YOU HAVE SKY, AND THEN YOU HAVE
YOU HAVE SKY, AND THEN YOU HAVE THIS FOREGROUND.
THIS FOREGROUND.
I LIKE THE WAY IT BECOMES
I LIKE THE WAY IT BECOMES VERY ABSTRACT.
VERY ABSTRACT.
FINAL IMAGE MIGHT LOOK MUCH
FINAL IMAGE MIGHT LOOK MUCH DIFFERENT FROM THIS, BUT I KIND
DIFFERENT FROM THIS, BUT I KIND OF LIKE THE BASIC COMPOSITION
OF LIKE THE BASIC COMPOSITION OF IT.
OF IT.
THERE'S MAYBE, LIKE, 15 LIGHT
THERE'S MAYBE, LIKE, 15 LIGHT SOURCES, AND TODAY, IT'S NOT THE
SOURCES, AND TODAY, IT'S NOT THE CASE ANYMORE.
CASE ANYMORE.
IT'S ACTUALLY OVERLIT BECAUSE
IT'S ACTUALLY OVERLIT BECAUSE IT'S UNESCO WORLD HERITAGE AND
IT'S UNESCO WORLD HERITAGE AND YOU CAN ALREADY SEE THAT ALL THE
YOU CAN ALREADY SEE THAT ALL THE SPOTS ARE ON THE DOMES.
SPOTS ARE ON THE DOMES.
SOME OF THE WAREHOUSES HAVE BEEN
SOME OF THE WAREHOUSES HAVE BEEN TORN DOWN, AND THEY ALSO
TORN DOWN, AND THEY ALSO CONSTRUCTED THIS NEW GEHRY TYPE
CONSTRUCTED THIS NEW GEHRY TYPE AQUARIUM OVER THERE, THAT WHITE
AQUARIUM OVER THERE, THAT WHITE SPOT.
SPOT.
SO I WILL DEFINITELY TAKE THAT
SO I WILL DEFINITELY TAKE THAT OUT BECAUSE THAT'S TOO MODERN,
OUT BECAUSE THAT'S TOO MODERN, TOO WHITE.
I SAW THIS PLACE BY ACCIDENT,
I SAW THIS PLACE BY ACCIDENT, BECAUSE IT'S A MURAL IN
BECAUSE IT'S A MURAL IN A STATION OF STRALSUND IN EAST
A STATION OF STRALSUND IN EAST GERMANY.
GERMANY.
IT HAD A VERY NOSTALGIC GERMAN
IT HAD A VERY NOSTALGIC GERMAN FEELING ABOUT AN OLD-TIME
FEELING ABOUT AN OLD-TIME ILLUSTRATION OF RUEGEN.
ILLUSTRATION OF RUEGEN.
IT IS A VERY IMPRECISE IMAGE
IT IS A VERY IMPRECISE IMAGE OPEN TO YOUR IMAGINATION.
OPEN TO YOUR IMAGINATION.
IT DOESN'T GIVE AWAY ALL THE
IT DOESN'T GIVE AWAY ALL THE FACTS.
FACTS.
MAPS JUST GIVE YOU AN IDEA OF
MAPS JUST GIVE YOU AN IDEA OF A PLACE.
A PLACE.
THEY'RE LIKE AN ILLUSTRATION,
THEY'RE LIKE AN ILLUSTRATION, BUT THEY'RE CLEARLY THE OPPOSITE
BUT THEY'RE CLEARLY THE OPPOSITE OF A PRECISE PHOTOGRAPH.
THIS IS A PHOTOGRAPH OF THE
THIS IS A PHOTOGRAPH OF THE MURAL IN STRALSUND.
MURAL IN STRALSUND.
I TOOK OUT THE NAMES AND
I TOOK OUT THE NAMES AND DESCRIPTIONS AND TURNED IT INTO
DESCRIPTIONS AND TURNED IT INTO AN EVEN MORE NONDESCRIPT IMAGE.
IT WAS PAINTED IN '36, BUT TO
IT WAS PAINTED IN '36, BUT TO ME, IT STANDS MORE FOR THE EAST
ME, IT STANDS MORE FOR THE EAST GERMAN SOCIAL REALIST ERA AND
GERMAN SOCIAL REALIST ERA AND THE GLORIFICATION OF THE FARMER
THE GLORIFICATION OF THE FARMER STATE.
STATE.
I TOOK A PHOTOGRAPH OF THE REAL
I TOOK A PHOTOGRAPH OF THE REAL ISLAND WHEN I WAS THERE, AND IT
ISLAND WHEN I WAS THERE, AND IT DIDN'T WORK OUT TO ME.
DIDN'T WORK OUT TO ME.
IT WAS TOO FLAT, AND WE COULDN'T
IT WAS TOO FLAT, AND WE COULDN'T GET HIGH UP ENOUGH, AND,
GET HIGH UP ENOUGH, AND, OF COURSE, IT LOOKS VERY
OF COURSE, IT LOOKS VERY DIFFERENT TO THE ILLUSTRATION,
DIFFERENT TO THE ILLUSTRATION, AND SO I THOUGHT THE
AND SO I THOUGHT THE ILLUSTRATION IS JUST ANOTHER
ILLUSTRATION IS JUST ANOTHER LEVEL OF ABSTRACTING IT.
LEVEL OF ABSTRACTING IT.
IT LIFTS YOU TO ANOTHER LAYER
IT LIFTS YOU TO ANOTHER LAYER THAT IS NOT NECESSARILY LINKED
THAT IS NOT NECESSARILY LINKED TO REALISM, AND IT OPENS UP YOUR
TO REALISM, AND IT OPENS UP YOUR OWN WORLD OR YOUR OWN
OWN WORLD OR YOUR OWN MYTHMAKING.
IT WORKS FINE WITH AN ABSTRACT
IT WORKS FINE WITH AN ABSTRACT IMAGE LIKE JUNE LAKE,
IMAGE LIKE JUNE LAKE, FOR EXAMPLE.
FOR EXAMPLE.
AND
AND IT SHOWS A SKI RESORT IN THE
IT SHOWS A SKI RESORT IN THE SIERRAS.
SIERRAS.
WE WERE SKIING, AND I SAW THIS
WE WERE SKIING, AND I SAW THIS IMAGE AT THE DINER, AND I WAS
IMAGE AT THE DINER, AND I WAS INSTANTLY STRUCK BY IT FOR ITS
INSTANTLY STRUCK BY IT FOR ITS ABSTRACT QUALITIES, BECAUSE IT
ABSTRACT QUALITIES, BECAUSE IT COULD BE AN ABSTRACT SCRIBBLE,
COULD BE AN ABSTRACT SCRIBBLE, BUT IT COULD ALSO BE A PIECE OF
BUT IT COULD ALSO BE A PIECE OF LAND ART, MUCH MORE CHAOTIC THAN
LAND ART, MUCH MORE CHAOTIC THAN JUST A PURE LINE.
JUST A PURE LINE.
MOST OF THE SKI RESORTS, AT
MOST OF THE SKI RESORTS, AT LEAST IN THE SIERRAS, ARE BELOW
LEAST IN THE SIERRAS, ARE BELOW TREE LINE, SO THEY HAVE TO CUT
TREE LINE, SO THEY HAVE TO CUT OUT THE SLOPES AND BASICALLY
OUT THE SLOPES AND BASICALLY CREATE THIS SCRIBBLE.
CREATE THIS SCRIBBLE.
AND THIS WAS ALSO ONE OF THE
AND THIS WAS ALSO ONE OF THE PHOTOGRAPHS THAT I COULDN'T TAKE
PHOTOGRAPHS THAT I COULDN'T TAKE MYSELF, BECAUSE IT'S CLEARLY AN
MYSELF, BECAUSE IT'S CLEARLY AN AERIAL PHOTOGRAPH.
AERIAL PHOTOGRAPH.
STILL, THOUGH, A VERY ABSTRACT--
STILL, THOUGH, A VERY ABSTRACT-- AND IT'S VERY PRECISE LIKE
AND IT'S VERY PRECISE LIKE A SATELLITE PHOTOGRAPH.
A SATELLITE PHOTOGRAPH.
ON THE OTHER HAND, YOU HAVE
ON THE OTHER HAND, YOU HAVE RUEGEN, WHICH IS REALLY JUST
RUEGEN, WHICH IS REALLY JUST LIKE VERY FEW BRUSHSTROKES AND
LIKE VERY FEW BRUSHSTROKES AND VERY SIMPLE.
VERY SIMPLE.
JUST GIVES YOU AN ILLUSION OR AN
JUST GIVES YOU AN ILLUSION OR AN IDEA OF HOW IT COULD LOOK.
IDEA OF HOW IT COULD LOOK.
SO IT'S VERY IMPRECISE.
SO IT'S VERY IMPRECISE.
THIS IS A PASS IN ITALY NEXT TO
THIS IS A PASS IN ITALY NEXT TO THE SWISS BORDER.
THE SWISS BORDER.
I'VE BEEN TO THAT PASS MANY
I'VE BEEN TO THAT PASS MANY TIMES AND THEN ALL OF A SUDDEN,
TIMES AND THEN ALL OF A SUDDEN, AT ONE POINT, I SAW POSTCARDS OF
AT ONE POINT, I SAW POSTCARDS OF THAT PASS, AND I WAS JUST STRUCK
THAT PASS, AND I WAS JUST STRUCK BY THE SCRIBBLE OF THE
BY THE SCRIBBLE OF THE SERPENTINES.
SERPENTINES.
IT'S REALLY JUST LIKE
IT'S REALLY JUST LIKE AN ABSTRACT GESTURE.
AN ABSTRACT GESTURE.
THE ITALIAN ENGINEERS MADE
THE ITALIAN ENGINEERS MADE A SCRIBBLE FOR ME IN THE IMAGE.
A SCRIBBLE FOR ME IN THE IMAGE.
I BOUGHT ALL THE POSTCARDS THEY
I BOUGHT ALL THE POSTCARDS THEY HAD TO DETERMINE IF A VANTAGE
HAD TO DETERMINE IF A VANTAGE POINT IS VALID ENOUGH.
POINT IS VALID ENOUGH.
THE MORE IMAGES THAT ARE TAKEN
THE MORE IMAGES THAT ARE TAKEN FROM ONE SPOT, THE MORE REASON
FROM ONE SPOT, THE MORE REASON FOR ME TO TAKE ANOTHER
FOR ME TO TAKE ANOTHER PHOTOGRAPH, IN A WAY.
PHOTOGRAPH, IN A WAY.
THOSE ARE SOME OF THE POSTCARDS.
THOSE ARE SOME OF THE POSTCARDS.
YOU CAN ALWAYS SEE
YOU CAN ALWAYS SEE THE SERPENTINES.
THE SERPENTINES.
THIS ONE, IT'S PRETTY CLOSE TO
THIS ONE, IT'S PRETTY CLOSE TO WHERE I WAS.
WHERE I WAS.
THAT'S A VERY VINTAGE ONE.
THAT'S A VERY VINTAGE ONE.
THEY WOULD ALSO, JUST TO MAKE IT
THEY WOULD ALSO, JUST TO MAKE IT MORE DRAMATIC, PAINT IN WHITE
MORE DRAMATIC, PAINT IN WHITE SNOW, WHICH I ALSO DID ON THIS
SNOW, WHICH I ALSO DID ON THIS ONE, BECAUSE THERE WASN'T ENOUGH
ONE, BECAUSE THERE WASN'T ENOUGH SNOW, AND I WANT TO HAVE THOSE
SNOW, AND I WANT TO HAVE THOSE FIELDS OF WHITE SNOW.
FIELDS OF WHITE SNOW.
SO I JUST DREW THEM IN MYSELF.
SO I JUST DREW THEM IN MYSELF.
AS A REFERENCE TO THE POSTCARDS,
AS A REFERENCE TO THE POSTCARDS, I THOUGHT, "I'LL TRY TO USE
I THOUGHT, "I'LL TRY TO USE A PROCESS THAT IS MAYBE LINKED
A PROCESS THAT IS MAYBE LINKED TO, LIKE, OFFSET PRINTING AND--
TO, LIKE, OFFSET PRINTING AND-- AND EVEN OLD COLOR PHOTOGRAPHY."
AND EVEN OLD COLOR PHOTOGRAPHY."
IT'S CALLED TRICOLOR
IT'S CALLED TRICOLOR PHOTOGRAPHY.
PHOTOGRAPHY.
TAKE THREE BLACK AND WHITE
TAKE THREE BLACK AND WHITE EXPOSURES WITH THREE DIFFERENT
EXPOSURES WITH THREE DIFFERENT FILTERS: RED, BLUE, AND GREEN.
FILTERS: RED, BLUE, AND GREEN.
AND THEN YOU SANDWICH THOSE
AND THEN YOU SANDWICH THOSE THREE NEGATIVES TOGETHER.
THREE NEGATIVES TOGETHER.
THE END RESULT IS A COLOR
THE END RESULT IS A COLOR PHOTOGRAPH.
PHOTOGRAPH.
BUT SINCE YOU'RE SANDWICHING
BUT SINCE YOU'RE SANDWICHING THREE PHOTOGRAPHS TOGETHER, THEY
THREE PHOTOGRAPHS TOGETHER, THEY DON'T REGISTER EVENLY.
DON'T REGISTER EVENLY.
SO THERE'S A LOT OF
SO THERE'S A LOT OF IRREGULARITIES, AND THEN YOU
IRREGULARITIES, AND THEN YOU ALSO HAVE THE CLOUDS OR ANYTHING
ALSO HAVE THE CLOUDS OR ANYTHING THAT MOVES WILL CREATE
THAT MOVES WILL CREATE A DIFFERENT COLOR,
A DIFFERENT COLOR, 'CAUSE THERE'S TIME BETWEEN
'CAUSE THERE'S TIME BETWEEN EXPOSURES.
EXPOSURES.
SO THIS CLOUD WAS ONLY RECORDED
SO THIS CLOUD WAS ONLY RECORDED BY ONE EXPOSURE.
BY ONE EXPOSURE.
THAT'S WHY IT TURNS PINK,
THAT'S WHY IT TURNS PINK, FOR EXAMPLE.
FOR EXAMPLE.
OR ONE CLOUD WAS ONLY RECORDED
OR ONE CLOUD WAS ONLY RECORDED BY ANOTHER EXPOSURE.
BY ANOTHER EXPOSURE.
THAT'S WHY IT TURNS YELLOW.
THAT'S WHY IT TURNS YELLOW.
PHOTOGRAPHY USED TO BE LIKE
PHOTOGRAPHY USED TO BE LIKE ALCHEMY BACK IN THE
ALCHEMY BACK IN THE 19TH CENTURY.
19TH CENTURY.
IT WAS A MEDIUM OF THE FEW,
IT WAS A MEDIUM OF THE FEW, AND NOW IT HAS TURNED INTO
AND NOW IT HAS TURNED INTO A MASS MEDIUM.
A MASS MEDIUM.
MAYBE IT'S REACTIONARY TO TURN
MAYBE IT'S REACTIONARY TO TURN BACKWARDS AND TO TRY TO
BACKWARDS AND TO TRY TO ESTABLISH ARTISTRY AGAIN, BUT
ESTABLISH ARTISTRY AGAIN, BUT IT'S ALSO THE MOST INTERESTING
IT'S ALSO THE MOST INTERESTING PART OF THE PROCESS AND NOT JUST
PART OF THE PROCESS AND NOT JUST LIKE THE BLACK BOX,
LIKE THE BLACK BOX, LIKE A DIGITAL CAMERA.
LIKE A DIGITAL CAMERA.
I NEED TO TREAT EACH PHOTO
I NEED TO TREAT EACH PHOTO INDIVIDUALLY TO DETERMINE THE
INDIVIDUALLY TO DETERMINE THE RIGHT SIZE OR SCALE FOR IT.
RIGHT SIZE OR SCALE FOR IT.
SOME OF THE WORKS MIGHT BE HUGE
SOME OF THE WORKS MIGHT BE HUGE VISTAS, SO I HANG 'EM LOW SO YOU
VISTAS, SO I HANG 'EM LOW SO YOU CAN ACTUALLY LOOK DOWNWARDS TO
CAN ACTUALLY LOOK DOWNWARDS TO IT, AND IT MIGHT WORK AS A MAP.
IT, AND IT MIGHT WORK AS A MAP.
OR YOU CAN INSPECT EVERY DETAIL.
OR YOU CAN INSPECT EVERY DETAIL.
IT NEEDS TO BE BIG ENOUGH THAT
IT NEEDS TO BE BIG ENOUGH THAT YOU CAN ACTUALLY GET LOST IN ONE
YOU CAN ACTUALLY GET LOST IN ONE CORNER WITHOUT GETTING
CORNER WITHOUT GETTING DISTRACTED BY THE OTHER CORNER.
DISTRACTED BY THE OTHER CORNER.
I DON'T DO SERIAL WORK.
I DON'T DO SERIAL WORK.
I THINK EVERY PIECE NEEDS ITS
I THINK EVERY PIECE NEEDS ITS OWN PRESENTATION AND SCALE.
OWN PRESENTATION AND SCALE.
I TURNED THE FINISHED PHOTOGRAPH
I TURNED THE FINISHED PHOTOGRAPH ALMOST BACK INTO A SCRIBBLE
ALMOST BACK INTO A SCRIBBLE AGAIN.
AGAIN.
USUALLY, A PHOTOGRAPH IS VERY
USUALLY, A PHOTOGRAPH IS VERY PRECISE, VERY RIGOROUS, AND IT'S
PRECISE, VERY RIGOROUS, AND IT'S AN END PRODUCT.
AN END PRODUCT.
AND I LIKE TO USE THE END
AND I LIKE TO USE THE END PRODUCT AND TURN IT INTO
PRODUCT AND TURN IT INTO AN UNFINISHED STATE AGAIN.
AN UNFINISHED STATE AGAIN.
I THINK IT'S FINE TO COMBINE
I THINK IT'S FINE TO COMBINE PHOTOGRAPHY AND DRAWING, FOR
PHOTOGRAPHY AND DRAWING, FOR EXAMPLE, OR ALTER PHOTOGRAPHS
EXAMPLE, OR ALTER PHOTOGRAPHS AND BRING IN FICTIONAL ELEMENTS,
AND BRING IN FICTIONAL ELEMENTS, JUST NOT BE SATISFIED WITH
JUST NOT BE SATISFIED WITH PHOTOGRAPHY AS A FINISHED IMAGE
PHOTOGRAPHY AS A FINISHED IMAGE OR A SUPER REALISTIC MEDIUM.
OR A SUPER REALISTIC MEDIUM.
I LIKE THE IDEA OF USING THE
I LIKE THE IDEA OF USING THE COMPUTER TO ACTUALLY BRING IN
COMPUTER TO ACTUALLY BRING IN IMPERFECTIONS OR TO TURN
IMPERFECTIONS OR TO TURN A PHOTOGRAPH, A FINISHED IMAGE
A PHOTOGRAPH, A FINISHED IMAGE INTO A MORE OPEN-ENDED IMAGE SO
INTO A MORE OPEN-ENDED IMAGE SO THAT IT'S NOT TOO PRECISE OR SO
THAT IT'S NOT TOO PRECISE OR SO OVERDETERMINED.
OVERDETERMINED.
THE COMPUTER HAS OPENED UP MUCH
THE COMPUTER HAS OPENED UP MUCH MORE POSSIBILITIES SO YOU CAN
MORE POSSIBILITIES SO YOU CAN REALLY GO INTO THE PHOTOGRAPH
REALLY GO INTO THE PHOTOGRAPH TODAY, WHICH WAS HARD TO DO IN
TODAY, WHICH WAS HARD TO DO IN THE EARLY 20TH CENTURY.
THE REAL BEGINNING WAS WHEN
THE REAL BEGINNING WAS WHEN I CAME TO CALIFORNIA,
I CAME TO CALIFORNIA, BECAUSE I DIDN'T COME HERE FOR
BECAUSE I DIDN'T COME HERE FOR ITS SCENIC BEAUTY.
ITS SCENIC BEAUTY.
I CAME HERE FOR THE ARTISTS THAT
I CAME HERE FOR THE ARTISTS THAT WERE TEACHING AT UCLA, AND I
WERE TEACHING AT UCLA, AND I THOUGHT THE ART THEY WERE DOING
THOUGHT THE ART THEY WERE DOING WAS EXACTLY THE ART THAT
WAS EXACTLY THE ART THAT I LIKED.
I LIKED.
I'M ALWAYS KIND OF CRITICAL AND
I'M ALWAYS KIND OF CRITICAL AND THINK THE WORK IS NOT GOOD
THINK THE WORK IS NOT GOOD ENOUGH, AND YOU ARE ALWAYS JUST
ENOUGH, AND YOU ARE ALWAYS JUST THIS POOR PHOTOGRAPHER WHOSE ART
THIS POOR PHOTOGRAPHER WHOSE ART IS USUALLY CONSIDERED LIKE
IS USUALLY CONSIDERED LIKE A SIDE PRODUCT.
A SIDE PRODUCT.
IT'S NOT LIKE THE REAL ART.
IT'S NOT LIKE THE REAL ART.
IT'S MORE SOME SORT OF INFERIOR
IT'S MORE SOME SORT OF INFERIOR ART.
ART.
AT LEAST THAT'S HOW IT IS
AT LEAST THAT'S HOW IT IS IN GERMANY.
IN GERMANY.
AND MAYBE IN THE U.S.,
AND MAYBE IN THE U.S., PHOTOGRAPHY'S DEFINITELY MORE
PHOTOGRAPHY'S DEFINITELY MORE ESTABLISHED, BECAUSE PHOTOGRAPHY
ESTABLISHED, BECAUSE PHOTOGRAPHY GREW TOGETHER WITH THE DISCOVERY
GREW TOGETHER WITH THE DISCOVERY OF THE AMERICAN WEST.
THERE'S A PHOTOGRAPH BY WATKINS
THERE'S A PHOTOGRAPH BY WATKINS THE BEST GENERAL
THE BEST GENERAL AND I THOUGHT THIS WAS
AND I THOUGHT THIS WAS PERFECT TO TAKE A PHOTOGRAPH
PERFECT TO TAKE A PHOTOGRAPH FROM GLACIER POINT IN YOSEMITE,
FROM GLACIER POINT IN YOSEMITE, WHICH IS THE MOST POPULAR SPOT
WHICH IS THE MOST POPULAR SPOT TOWARDS HALF DOME, WHICH IS THE
TOWARDS HALF DOME, WHICH IS THE MOST PHOTOGRAPHED MOUNTAIN
MOST PHOTOGRAPHED MOUNTAIN PROBABLY IN AMERICA, AND NAME IT
PROBABLY IN AMERICA, AND NAME IT THE BEST GENERAL VIEW.
THE BEST GENERAL VIEW.
I LIKE THE STAGE QUALITY.
I LIKE THE STAGE QUALITY.
IT WASN'T A PERFECT DAY WHEN
IT WASN'T A PERFECT DAY WHEN I TOOK THE PHOTOGRAPH.
I TOOK THE PHOTOGRAPH.
IT WAS OVERCAST A LITTLE BIT,
IT WAS OVERCAST A LITTLE BIT, AND I DIDN'T MIND.
AND I DIDN'T MIND.
IT'S A STARTING POINT.
IT'S A STARTING POINT.
I DREW IN THE ENTIRE BACKGROUND
I DREW IN THE ENTIRE BACKGROUND WITH THE BLUE SKY AND THE
WITH THE BLUE SKY AND THE CLOUDS, AND I BROUGHT IN THOSE
CLOUDS, AND I BROUGHT IN THOSE BUSHES TO BRING IN SOME
BUSHES TO BRING IN SOME FOREGROUND-BACKGROUND SPACE.
FOREGROUND-BACKGROUND SPACE.
SO IN THE END, EXCEPT FOR HALF
SO IN THE END, EXCEPT FOR HALF DOME, THE IMAGE IS NOT THE WAY
DOME, THE IMAGE IS NOT THE WAY IT LOOKED WHEN I TOOK THE
IT LOOKED WHEN I TOOK THE PICTURE.
THAT'S AN IMAGE NEAR SANTA
THAT'S AN IMAGE NEAR SANTA CLARITA ON THE OUTSKIRTS OF
CLARITA ON THE OUTSKIRTS OF LOS ANGELES.
LOS ANGELES.
IT SHOWS THE REMAINS OF THE
IT SHOWS THE REMAINS OF THE ST. FRANCIS DAM.
ST. FRANCIS DAM.
ST. FRANCIS DAM WAS A FAILURE.
ST. FRANCIS DAM WAS A FAILURE.
JUST BY RESEARCHING, WE LEARN
JUST BY RESEARCHING, WE LEARN ABOUT MULHOLLAND AND THE FACT
ABOUT MULHOLLAND AND THE FACT THAT HE RESIGNED AFTER THE
THAT HE RESIGNED AFTER THE FAILURE OF THE DAM.
FAILURE OF THE DAM.
FAILURE USUALLY IS THE SIDE THAT
FAILURE USUALLY IS THE SIDE THAT NOBODY WANTS TO MENTION, NOBODY
NOBODY WANTS TO MENTION, NOBODY WANTS TO POINT OUT, AND THAT'S
WANTS TO POINT OUT, AND THAT'S THE HIDDEN SIDE OR THE
THE HIDDEN SIDE OR THE SUBCONTEXT IN A WAY.
SUBCONTEXT IN A WAY.
WE'RE STANDING ON THE DAM.
WE'RE STANDING ON THE DAM.
THIS IS THE VISTA TOWARDS THE
THIS IS THE VISTA TOWARDS THE OLD FORMER LAKE THAT WAS
OLD FORMER LAKE THAT WAS DRAINED WHEN THE DAM COLLAPSED.
DRAINED WHEN THE DAM COLLAPSED.
TODAY IT'S BACK TO ITS OLD
TODAY IT'S BACK TO ITS OLD NATURE, AND I'M JUST RECORDING
NATURE, AND I'M JUST RECORDING BASICALLY, LIKE, A STRAIGHT
BASICALLY, LIKE, A STRAIGHT PHOTOGRAPH OF THE FORMER LAKE OR
PHOTOGRAPH OF THE FORMER LAKE OR THE VALLEY.
THE VALLEY.
I'M USING THE PHOTOGRAPH AS
I'M USING THE PHOTOGRAPH AS A SCRIPT.
A SCRIPT.
I WAS MORE INTERESTED IN THE
I WAS MORE INTERESTED IN THE ABSTRACT QUALITIES
ABSTRACT QUALITIES WHEN I WAS RESEARCHING THE DAM,
WHEN I WAS RESEARCHING THE DAM, AND I LOOKED AT DOCUMENTS FROM
AND I LOOKED AT DOCUMENTS FROM THE DAY IT COLLAPSED IN '29.
THE DAY IT COLLAPSED IN '29.
THE PICTURE WAS ALMOST CUT
THE PICTURE WAS ALMOST CUT IN HALF.
IN HALF.
YOU WOULD SEE A REPRESENTATIONAL
YOU WOULD SEE A REPRESENTATIONAL MOUNTAIN LANDSCAPE ON THE TOP,
MOUNTAIN LANDSCAPE ON THE TOP, AND THEN YOU WOULD SEE A DRAINED
AND THEN YOU WOULD SEE A DRAINED LAKE AT THE BOTTOM, AND THE
LAKE AT THE BOTTOM, AND THE DRAINED LAKE WAS BASICALLY JUST
DRAINED LAKE WAS BASICALLY JUST LIKE AN ABSTRACT PIECE, LIKE
LIKE AN ABSTRACT PIECE, LIKE FIGURES AND FORMS AND LINES.
THE IDEA WAS TO HAVE
THE IDEA WAS TO HAVE A REPRESENTATIONAL UPPER PART
A REPRESENTATIONAL UPPER PART AND TO CREATE AN ABSTRACT LOWER
AND TO CREATE AN ABSTRACT LOWER PART, AND YOU MIX THE TWO
PART, AND YOU MIX THE TWO TOGETHER.
TOGETHER.
I'M ALWAYS MORE INTERESTED IN
I'M ALWAYS MORE INTERESTED IN THE MIXTURE OF THOSE TWO, WHICH
THE MIXTURE OF THOSE TWO, WHICH IS KIND OF HARD TO COMBINE
IS KIND OF HARD TO COMBINE ABSTRACTION AND REPRESENTATION
ABSTRACTION AND REPRESENTATION IN ONE IMAGE.
I STARTED WITH A BASIC DRAWING,
I STARTED WITH A BASIC DRAWING, AND THEN I CONTINUE TO DRAW INTO
AND THEN I CONTINUE TO DRAW INTO IT AND TURN IT MORE AND MORE
IT AND TURN IT MORE AND MORE INTO A SCRIBBLE THAT HAS
INTO A SCRIBBLE THAT HAS HUNDREDS OF LAYERS OF DOTS LIKE
HUNDREDS OF LAYERS OF DOTS LIKE A POINTILLIST IMAGE.
ONE OF THE REASONS TO COME OUT
ONE OF THE REASONS TO COME OUT HERE TO LOS ANGELES, BECAUSE
HERE TO LOS ANGELES, BECAUSE IT'S NOT ONLY EXOTIC IN
IT'S NOT ONLY EXOTIC IN A CERTAIN WAY, BUT YOU
A CERTAIN WAY, BUT YOU UNDERSTAND THE CULTURE BECAUSE
UNDERSTAND THE CULTURE BECAUSE YOU GROW UP WITH AMERICA.
YOU GROW UP WITH AMERICA.
YOU GET A FRESH LIGHT.
YOU GET A FRESH LIGHT.
YOU GET A NEW LANDSCAPE,
YOU GET A NEW LANDSCAPE, AND THAT LANDSCAPE IS STILL
AND THAT LANDSCAPE IS STILL SIGNIFICANT.
SIGNIFICANT.
IT HAS A GREAT MEANING, AND IT'S
IT HAS A GREAT MEANING, AND IT'S THE END OF AMERICAN PIONEERISM.
THE END OF AMERICAN PIONEERISM.
IT'S THE END OF THE AMERICAN
IT'S THE END OF THE AMERICAN WEST, AND FROM A GERMAN ASPECT,
WEST, AND FROM A GERMAN ASPECT, IT'S ALSO THE END OF THE WORLD.
[electronic music]
[electronic music] >> DEAR LADIES AND GENTLEMEN,
>> DEAR LADIES AND GENTLEMEN, I'M CHINA TRACY, THE AVATAR OF
I'M CHINA TRACY, THE AVATAR OF CAO FEI, AND I'M HER
CAO FEI, AND I'M HER INTERPRETER.
OUR GENERATION HAS GROWN UP IN
OUR GENERATION HAS GROWN UP IN A FLUID AND MOBILE ENVIRONMENT
A FLUID AND MOBILE ENVIRONMENT WHERE CULTURES MIX AND DIVERGE.
POP CULTURE HAS SPREAD RAPIDLY
POP CULTURE HAS SPREAD RAPIDLY INTO EVERY CORNER OF CHINA.
INTO EVERY CORNER OF CHINA.
WHEN I WAS LITTLE, I WOULD GO
WHEN I WAS LITTLE, I WOULD GO OUT AND LEARN STREET DANCE.
OUT AND LEARN STREET DANCE.
[speaking native language]
[speaking native language] LATER, I FELL IN LOVE WITH
LATER, I FELL IN LOVE WITH HIP-HOP MUSIC.
HIP-HOP MUSIC.
I SEE THE WORLD WITH A SENSE OF
I SEE THE WORLD WITH A SENSE OF HUMOR, STREET CULTURE IS A VERY
HUMOR, STREET CULTURE IS A VERY NATURAL, WILD, FREE, AND
NATURAL, WILD, FREE, AND SPONTANEOUS FORM OF EXPRESSION.
SPONTANEOUS FORM OF EXPRESSION.
IT'S LIKE THE NOTION OF SAMPLING
IT'S LIKE THE NOTION OF SAMPLING IN HIP-HOP, WHICH IS TO MIX ALL
IN HIP-HOP, WHICH IS TO MIX ALL DIFFERENT KINDS OF THINGS
DIFFERENT KINDS OF THINGS TOGETHER.
TOGETHER.
IN MUSIC VIDEOS, VISUALITY,
IN MUSIC VIDEOS, VISUALITY, MONTAGE, MUSIC, AND IMAGERY ARE
MONTAGE, MUSIC, AND IMAGERY ARE BLENDED INTO A SINGLE PROCESS.
PERHAPS MUSIC TAKES THE PLACE OF
PERHAPS MUSIC TAKES THE PLACE OF SOME OF THE NARRATIVE AND
SOME OF THE NARRATIVE AND FEELING.
FEELING.
MUSIC ITSELF BECOMES A VERY
MUSIC ITSELF BECOMES A VERY EMOTIONAL PART OF THE WORK.
EMOTIONAL PART OF THE WORK.
IF I HAD GROWN UP JUST FOCUSING
IF I HAD GROWN UP JUST FOCUSING ON THE WRITTEN WORD OR
ON THE WRITTEN WORD OR PHOTOGRAPHY OR STILL IMAGES,
PHOTOGRAPHY OR STILL IMAGES, MY WAY OF THINKING WOULD HAVE
MY WAY OF THINKING WOULD HAVE BEEN TOTALLY DIFFERENT.
I HAD JUST GRADUATED FROM
I HAD JUST GRADUATED FROM COLLEGE AND HAD OPPORTUNITY TO
COLLEGE AND HAD OPPORTUNITY TO BECOME EXPOSED TO THE WORKING
BECOME EXPOSED TO THE WORKING WORLD.
WORLD.
I GOT A TASTE OF REALITY IN
I GOT A TASTE OF REALITY IN A PRETTY CLOSE AND INTIMATE WAY,
A PRETTY CLOSE AND INTIMATE WAY, AND I FELT THAT I COULD CRITIQUE
AND I FELT THAT I COULD CRITIQUE REALITY THROUGH MY ARTWORK.
REALITY THROUGH MY ARTWORK.
LOOKING BACK YEARS LATER, THE
LOOKING BACK YEARS LATER, THE CRITIQUE SEEMS A BIT SEVERE,
CRITIQUE SEEMS A BIT SEVERE, EVEN BLUNT.
EVEN BLUNT.
BUT MY LATER WORKS BEGAN TO
BUT MY LATER WORKS BEGAN TO REFLECT ON A MORE THOROUGH
REFLECT ON A MORE THOROUGH UNDERSTANDING OF SOCIETY AS
UNDERSTANDING OF SOCIETY AS A WHOLE, AND THEY ARE QUITE
A WHOLE, AND THEY ARE QUITE DIFFERENT FROM THE IMPULSIVE
DIFFERENT FROM THE IMPULSIVE URGES OF THAT EARLY PERIOD.
AFTER I DID THE FIRST HIP-HOP
AFTER I DID THE FIRST HIP-HOP PROJECT, I STARTED WORKING ON
PROJECT, I STARTED WORKING ON COSPLAYERS.
COSPLAYERS.
WE TRANSLATE COSPLAY INTO
WE TRANSLATE COSPLAY INTO CHINESE AS ROLE-PLAYING.
CHINESE AS ROLE-PLAYING.
IT GROWS FROM A GENERATION UNDER
IT GROWS FROM A GENERATION UNDER THE INFLUENCE OF THE CARTOON
THE INFLUENCE OF THE CARTOON CULTURE.
CULTURE.
NEITHER COSPLAYING NOR HIP-HOP
NEITHER COSPLAYING NOR HIP-HOP IS NATIVE TO CHINA, BUT WHEN WE
IS NATIVE TO CHINA, BUT WHEN WE EXPERIENCE IT, WE FEEL SOMEHOW
EXPERIENCE IT, WE FEEL SOMEHOW THAT IT HAS BECOME VERY
THAT IT HAS BECOME VERY INDIGENOUS AND ORIGINAL.
I WAS WORKING PART-TIME AS AN
I WAS WORKING PART-TIME AS AN ART DIRECTOR FOR ADVERTISING
ART DIRECTOR FOR ADVERTISING COMPANIES.
COMPANIES.
WHEN SCOUTING LOCATIONS, WE
WHEN SCOUTING LOCATIONS, WE WOULD COME ACROSS RUINED SCENES
WOULD COME ACROSS RUINED SCENES AND IMAGES.
AND IMAGES.
THOSE PLACES HAVE LEFT A DEEP
THOSE PLACES HAVE LEFT A DEEP IMPRESSION ON ME.
IMPRESSION ON ME.
THESE SETTINGS AND BACKGROUNDS
THESE SETTINGS AND BACKGROUNDS ARE VERY IMPORTANT TO THE
ARE VERY IMPORTANT TO THE CHARACTERS AND HOW THEY RELATE
CHARACTERS AND HOW THEY RELATE TO EACH OTHER.
EVEN IN REAL LIFE, THE
EVEN IN REAL LIFE, THE COSPLAYERS PLACE THEMSELVES INTO
COSPLAYERS PLACE THEMSELVES INTO CARTOON CHARACTERS ROLES SO MUCH
CARTOON CHARACTERS ROLES SO MUCH THAT THEY CARRY THEIR CARTOON
THAT THEY CARRY THEIR CARTOON ROLES INTO THEIR EVERYDAY LIVES.
ROLES INTO THEIR EVERYDAY LIVES.
IT IS A NEW KIND OF ROLE
IT IS A NEW KIND OF ROLE REVERSAL WHICH ALSO REFLECTS THE
REVERSAL WHICH ALSO REFLECTS THE YOUNGER GENERATION'S DISCONTENT
YOUNGER GENERATION'S DISCONTENT WITH THEIR ROLES IN REAL LIFE.
WITH THEIR ROLES IN REAL LIFE.
COSPLAY REFLECTS THE GAP BETWEEN
COSPLAY REFLECTS THE GAP BETWEEN THESE TWO GENERATIONS.
THESE TWO GENERATIONS.
NEITHER IS WILLING TO STRIKE
NEITHER IS WILLING TO STRIKE A COMPROMISE OR REACH AN ACCORD
A COMPROMISE OR REACH AN ACCORD WITH THE OTHER.
WHEN I GOT AN INVITATION FROM
WHEN I GOT AN INVITATION FROM SIEMENS ELECTRIC, I STARTED TO
SIEMENS ELECTRIC, I STARTED TO WHOSE UTOPIA.
WHOSE UTOPIA.
I THOUGHT THAT THIS MIGHT BE A
I THOUGHT THAT THIS MIGHT BE A GOOD OPPORTUNITY TO SHOOT INSIDE
GOOD OPPORTUNITY TO SHOOT INSIDE A FACTORY, USUALLY VERY
A FACTORY, USUALLY VERY DIFFICULT BECAUSE GENERALLY
DIFFICULT BECAUSE GENERALLY THERE IS A HIGH LEVEL OF
THERE IS A HIGH LEVEL OF COMMERCIAL PROTECTIONISM.
COMMERCIAL PROTECTIONISM.
IT'S NOT AN EXPOSE NOR IS IT
IT'S NOT AN EXPOSE NOR IS IT ABOUT POLITICAL CORRECTNESS.
ABOUT POLITICAL CORRECTNESS.
IT ATTEMPTS TO EXAMINE THIS
IT ATTEMPTS TO EXAMINE THIS PARTICULAR KIND OF REALITY FROM
PARTICULAR KIND OF REALITY FROM MULTIPLE ANGLES, HOW WORKERS ARE
MULTIPLE ANGLES, HOW WORKERS ARE ON THE LOOKOUT FOR THE CHANCE
ON THE LOOKOUT FOR THE CHANCE AND OPPORTUNITY TO SURVIVE.
IT ALSO HAS THIS AVATARLIKE
IT ALSO HAS THIS AVATARLIKE ELEMENT WITH THE WORKERS
ELEMENT WITH THE WORKERS ROLE-PLAYING THEIR FANTASIES.
ROLE-PLAYING THEIR FANTASIES.
I OFTEN HAVE THE FEELING THAT
I OFTEN HAVE THE FEELING THAT THEY TRULY VALUE THIS KIND OF
THEY TRULY VALUE THIS KIND OF OPPORTUNITY TO REMAKE
OPPORTUNITY TO REMAKE THEMSELVES.
THEMSELVES.
FOR CORPORATIONS TO LET
FOR CORPORATIONS TO LET ARTISTS CREATE WORKS WITH THE
ARTISTS CREATE WORKS WITH THE FACTORY AS THE BACKDROP IS AN
FACTORY AS THE BACKDROP IS AN ATTEMPT TO FORGE A CORPORATE
ATTEMPT TO FORGE A CORPORATE CULTURE.
CULTURE.
WHAT ARTISTS DO IN REALITY IN
WHAT ARTISTS DO IN REALITY IN THE ART WORLD IS NOT ALL THAT
THE ART WORLD IS NOT ALL THAT IMPORTANT TO THE CORPORATION.
IMPORTANT TO THE CORPORATION.
WHAT'S IMPORTANT IS THE PROJECT
WHAT'S IMPORTANT IS THE PROJECT THAT IS CREATED.
[delicate piano music]
[delicate piano music] MY COMPOSER ZHANG ANDING
MY COMPOSER ZHANG ANDING INTRODUCED ME TO SECOND LIFE IN
INTRODUCED ME TO SECOND LIFE IN 2006.
2006.
HE WAS PURCHASING LAND IN AN
HE WAS PURCHASING LAND IN AN ONLINE GAME, AND HE SAID THAT HE
ONLINE GAME, AND HE SAID THAT HE CAN CONSTRUCT AND HAVE HIS OWN
CAN CONSTRUCT AND HAVE HIS OWN SECOND LIFE.
SECOND LIFE.
SUBSEQUENTLY, I OPENED THIS
SUBSEQUENTLY, I OPENED THIS ACCOUNT, MY ACCOUNT FOR
ACCOUNT, MY ACCOUNT FOR CHINA TRACY.
CHINA TRACY.
I WAS ABSOLUTELY ENTHRALLED AND
I WAS ABSOLUTELY ENTHRALLED AND SPELLBOUND BY IT FROM THE
SPELLBOUND BY IT FROM THE BEGINNING.
BEGINNING.
I STARTED WITH THE VERY BASICS,
I STARTED WITH THE VERY BASICS, HOW TO TAKE MY FIRST BABY STEPS,
HOW TO TAKE MY FIRST BABY STEPS, AND HOW TO TALK TO PEOPLE.
AND HOW TO TALK TO PEOPLE.
THE WHOLE PROCESS WAS TOTALLY
THE WHOLE PROCESS WAS TOTALLY CAPTIVATING AND RIVETING.
CAPTIVATING AND RIVETING.
CHINA IS HER SURNAME,
CHINA IS HER SURNAME, TRACY THE GIVEN NAME.
TRACY THE GIVEN NAME.
I WANTED TO ENTER THIS VIRTUAL
I WANTED TO ENTER THIS VIRTUAL WORLD WITH AN ORDINARY PERSON'S
WORLD WITH AN ORDINARY PERSON'S PERSPECTIVE TO SEE WHAT WAS
PERSPECTIVE TO SEE WHAT WAS HAPPENING OUT THERE.
HAPPENING OUT THERE.
IN THE BEGINNING, I WAS WORKING
IN THE BEGINNING, I WAS WORKING WITH A SET OF PREDESIGNED
WITH A SET OF PREDESIGNED PERSONAS THAT A NEW SECOND LIFE
PERSONAS THAT A NEW SECOND LIFE USER CAN CHOOSE FROM WHEN
USER CAN CHOOSE FROM WHEN CONSTRUCTING THEIR AVATAR.
CONSTRUCTING THEIR AVATAR.
OVER TIME, I SPENT A LOT OF
OVER TIME, I SPENT A LOT OF MONEY BUYING HER SKIN, HER EYES,
MONEY BUYING HER SKIN, HER EYES, HER FIGURE, AND EVEN HER SEX
HER FIGURE, AND EVEN HER SEX ORGANS TO GIVE HER A MORE MODERN
ORGANS TO GIVE HER A MORE MODERN LOOK.
MY DOCUMENTARY MADE IN
MY DOCUMENTARY MADE IN SECOND LIFE, HAS A FEMININE
SECOND LIFE, HAS A FEMININE PERSPECTIVE.
PERSPECTIVE.
IN THIS DOCUMENTARY, YOU WILL
IN THIS DOCUMENTARY, YOU WILL SEE A STRONG SENSE OF SELFHOOD,
SEE A STRONG SENSE OF SELFHOOD, A SENSE OF USING MY OWN BODY, MY
A SENSE OF USING MY OWN BODY, MY OWN SELF TO EXPLORE THIS WORLD.
THE ENCOUNTER BETWEEN ME AND
THE ENCOUNTER BETWEEN ME AND HUG YUE OCCURRED WHEN I WAS
HUG YUE OCCURRED WHEN I WAS EXPLORING AROUND IN MY ONLINE
EXPLORING AROUND IN MY ONLINE JOURNEY.
JOURNEY.
I SAW A VERY HANDSOME GUY
I SAW A VERY HANDSOME GUY PLAYING A PIANO.
PLAYING A PIANO.
I WAS DRAWN BY THE PIANO MUSIC,
I WAS DRAWN BY THE PIANO MUSIC, WHICH WAS VERY ROMANTIC.
WHICH WAS VERY ROMANTIC.
QUIETLY AND SECRETIVELY, I STOOD
QUIETLY AND SECRETIVELY, I STOOD AT A DISTANCE, SHOOTING THE
AT A DISTANCE, SHOOTING THE SCENE OF HIM PLAYING THE PIANO.
SCENE OF HIM PLAYING THE PIANO.
AFTER A WHILE, HE ASKED
AFTER A WHILE, HE ASKED CHINA TRACY FOR A DANCE.
CHINA TRACY FOR A DANCE.
WE BEGAN TO GET TO KNOW EACH
WE BEGAN TO GET TO KNOW EACH OTHER, AND I FOUND HIM
OTHER, AND I FOUND HIM A GENTLEMAN WITH A FINE SENSE
A GENTLEMAN WITH A FINE SENSE OF HUMOR.
OF HUMOR.
THERE ARE MANY ROMANTIC STORIES
THERE ARE MANY ROMANTIC STORIES LIKE THIS ONE IN SECOND LIFE
LIKE THIS ONE IN SECOND LIFE BETWEEN ONE MALE AND ONE FEMALE
BETWEEN ONE MALE AND ONE FEMALE AVATAR.
AVATAR.
BUT PERHAPS BEHIND THE SCENES,
BUT PERHAPS BEHIND THE SCENES, THERE MAY BE TWO FEMALES, BUT IN
THERE MAY BE TWO FEMALES, BUT IN REAL LIFE THEY ARE TWO GUYS.
REAL LIFE THEY ARE TWO GUYS.
NONETHELESS, ROMANCE STILL
NONETHELESS, ROMANCE STILL TRANSPIRES BETWEEN THESE AVATARS
TRANSPIRES BETWEEN THESE AVATARS LIKE THE CASE WITH ME AND
LIKE THE CASE WITH ME AND HUG YUE, EVEN THOUGH IT DID NOT
HUG YUE, EVEN THOUGH IT DID NOT ULTIMATELY LEAD TO A FULL-BLOWN
ULTIMATELY LEAD TO A FULL-BLOWN ROMANCE.
ROMANCE.
I FINALLY LEARNED THAT HE WAS
I FINALLY LEARNED THAT HE WAS ABOUT 67, A FAIRLY OLD GUY IN
ABOUT 67, A FAIRLY OLD GUY IN REAL LIFE.
REAL LIFE.
HE IS A COMMUNIST, A BIG FAN OF
HE IS A COMMUNIST, A BIG FAN OF MARX, AND HE WOULD OFTEN WEAR
MARX, AND HE WOULD OFTEN WEAR A T-SHIRT WITH MARX'S IMAGE.
A T-SHIRT WITH MARX'S IMAGE.
SO I GOT TO SEE BOTH HIS
SO I GOT TO SEE BOTH HIS ROMANTIC AND IDEALISTIC SIDES.
ROMANTIC AND IDEALISTIC SIDES.
I ALSO GOT THE IMPRESSION OF HIM
I ALSO GOT THE IMPRESSION OF HIM BEING VERY POLITICAL AND
BEING VERY POLITICAL AND ZEALOUS, HAVING A KIND OF--
ZEALOUS, HAVING A KIND OF-- IN MAO'S WORDS--
IN MAO'S WORDS-- ROMANTIC HEROISM.
ROMANTIC HEROISM.
YOU CAN PEEK
YOU CAN PEEK INTO THE DIGITAL WORLD.
INTO THE DIGITAL WORLD.
EVERYTHING IS MUCH MORE INTENSE
EVERYTHING IS MUCH MORE INTENSE THAN THE REAL WORLD.
THAN THE REAL WORLD.
IT'S MUCH MORE UNBRIDLED
IT'S MUCH MORE UNBRIDLED AND WILD.
AND WILD.
THAT'S WHY SO MANY PEOPLE GET
THAT'S WHY SO MANY PEOPLE GET HOOKED ON SECOND LIFE.
HOOKED ON SECOND LIFE.
IN IT, THEY TRY TO FIND A KIND
IN IT, THEY TRY TO FIND A KIND OF LIFE WITH EMOTIONS THAT THEY
OF LIFE WITH EMOTIONS THAT THEY WANT FOR THEMSELVES IN REAL
WANT FOR THEMSELVES IN REAL LIFE.
LIFE.
BUT IN THE END, YOU WILL FIND
BUT IN THE END, YOU WILL FIND THAT IN THIS DOCUMENTARY,
THAT IN THIS DOCUMENTARY, THAT IS SOMETHING BEYOND REACH.
RMB CITY WAS CONCEIVED WHILE I
RMB CITY WAS CONCEIVED WHILE I WAS STILL EXPLORING SECOND LIFE.
I WAS WONDERING IF I COULD HAVE
I WAS WONDERING IF I COULD HAVE MY OWN COMMUNITY AND MY OWN CITY
MY OWN COMMUNITY AND MY OWN CITY BUILT PURELY BY MYSELF.
BUILT PURELY BY MYSELF.
SO I STARTED TO ENVISION WHAT
SO I STARTED TO ENVISION WHAT THIS CITY MIGHT LOOK LIKE.
RMB CITY
RMB CITY WAS BASICALLY FINISHED.
WAS BASICALLY FINISHED.
IT'S AN IMAGINING, A DRAFT
IT'S AN IMAGINING, A DRAFT DESIGN OF THE OVERALL APPEARANCE
DESIGN OF THE OVERALL APPEARANCE OF THIS CITY.
IT REPRESENTS THE BUILDING AND
IT REPRESENTS THE BUILDING AND DEVELOPMENT OF AN URBAN CENTER
DEVELOPMENT OF AN URBAN CENTER WITH ALL THAT ENTAILS:
WITH ALL THAT ENTAILS: INVESTMENT, EXPANSION,
INVESTMENT, EXPANSION, OVERDEVELOPMENT.
OVERDEVELOPMENT.
WHAT'S IMPORTANT IS TO MAKE AN
WHAT'S IMPORTANT IS TO MAKE AN IMAGINARY CITY RUN SMOOTHLY LIKE
IMAGINARY CITY RUN SMOOTHLY LIKE A REAL ONE.
WE FIRST CAME UP WITH A LIST OF
WE FIRST CAME UP WITH A LIST OF OPTIONS FOR ALL THE DIFFERENT
OPTIONS FOR ALL THE DIFFERENT COMPONENTS IN THE BUILDING OF
COMPONENTS IN THE BUILDING OF THE CITY,
THE CITY, DIFFERENT BUILDINGS AND
DIFFERENT BUILDINGS AND LANDMARKS THAT WE ABSOLUTELY
LANDMARKS THAT WE ABSOLUTELY WANT TO HAVE IN THE CITYSCAPE.
WE DESIGNED AN URBAN PLAN BY
WE DESIGNED AN URBAN PLAN BY COMBINING THESE DIFFERENT
COMBINING THESE DIFFERENT COMPONENTS UTILIZING COLLAGES.
COMPONENTS UTILIZING COLLAGES.
OUR NEXT STEP WAS TO FEED THE
OUR NEXT STEP WAS TO FEED THE DESIGN INTO THREE-DIMENSIONAL
DESIGN INTO THREE-DIMENSIONAL SOFTWARE TO BUILD IT UP INTO AN
SOFTWARE TO BUILD IT UP INTO AN ARCHITECTURAL MODEL.
ARCHITECTURAL MODEL.
THEN WE TURNED THIS SOFTWARE
THEN WE TURNED THIS SOFTWARE OVER TO OUR VIRTUAL ARCHITECTS
OVER TO OUR VIRTUAL ARCHITECTS TO BE UPLOADED INTO SECOND LIFE.
I WOULD PREFER IT TO BE A MORE
I WOULD PREFER IT TO BE A MORE OPEN ENVIRONMENT WHERE YOU CAN
OPEN ENVIRONMENT WHERE YOU CAN KEEP ADDING THINGS TO IMPLEMENT
KEEP ADDING THINGS TO IMPLEMENT WHATEVER IDEAS YOU COME UP WITH.
WHATEVER IDEAS YOU COME UP WITH.
WE'RE NOW AT A STAGE WHERE WE
WE'RE NOW AT A STAGE WHERE WE HAVE TO FEEL OUR WAY OR AS
HAVE TO FEEL OUR WAY OR AS DENG XIAOPING SAID, "CROSS THE
DENG XIAOPING SAID, "CROSS THE RIVER BY TOUCHING THE STONES."
TAKE OUR CURRENT MAYORAL PROGRAM
TAKE OUR CURRENT MAYORAL PROGRAM FOR EXAMPLE.
FOR EXAMPLE.
EACH MAYOR WILL SERVE
EACH MAYOR WILL SERVE A THREE-MONTH TERM FOR RMB CITY
A THREE-MONTH TERM FOR RMB CITY AND BE FREE TO MAKE HIS OWN
AND BE FREE TO MAKE HIS OWN POLICIES AND DECISIONS OR TO
POLICIES AND DECISIONS OR TO HAVE HER OWN INTERPRETATION OF
HAVE HER OWN INTERPRETATION OF THE CITY.
THE CITY.
I THINK THIS ALSO RELEASES ME
I THINK THIS ALSO RELEASES ME FROM ANY RESPONSIBILITY TO KEEP
FROM ANY RESPONSIBILITY TO KEEP CONTROL OF THE CITY.
CONTROL OF THE CITY.
THERE WILL BE NO PARTY
THERE WILL BE NO PARTY COMMITTEE.
COMMITTEE.
WE WILL HAVE A BOARD
WE WILL HAVE A BOARD OF DIRECTORS.
OF DIRECTORS.
WE'LL HAVE A JUDICIAL SYSTEM
WE'LL HAVE A JUDICIAL SYSTEM WITH A JUDGE SOMEWHAT LIKE
WITH A JUDGE SOMEWHAT LIKE LEGENDARY BAO GONG, THE CHINESE
LEGENDARY BAO GONG, THE CHINESE EMBODIMENT OF JUSTICE.
RMB CITY IS IN MANY WAYS LIKE
RMB CITY IS IN MANY WAYS LIKE THE PAINTING FROM THE HAN
THE PAINTING FROM THE HAN DYNASTY, WITH CLOUDS AND MIST,
DYNASTY, WITH CLOUDS AND MIST, HILLS AND RIVERS, AND THE
HILLS AND RIVERS, AND THE INTERRELATIONSHIP BETWEEN
INTERRELATIONSHIP BETWEEN HUMANS AND NATURE.
HUMANS AND NATURE.
IT MADE ME WONDER IF THIS
IT MADE ME WONDER IF THIS AESTHETIC IS DEEPLY ROOTED
AESTHETIC IS DEEPLY ROOTED IN THE ASIAN WAY OF THINKING.
IN THE ASIAN WAY OF THINKING.
I'VE ALWAYS BEEN LOOKING FOR
I'VE ALWAYS BEEN LOOKING FOR THESE CONNECTIONS,
THESE CONNECTIONS, THE DIFFERENCES AND SIMILARITIES
THE DIFFERENCES AND SIMILARITIES BETWEEN THE PAST AND PRESENT,
BETWEEN THE PAST AND PRESENT, THE ASIAN AND THE WESTERN.
RMB IS THE ABBREVIATION FOR THE
RMB IS THE ABBREVIATION FOR THE RENMINBI.
RENMINBI.
MEANS THE PEOPLE, THE
MEANS THE PEOPLE, THE GENERAL POPULATION, AND THE "R"
GENERAL POPULATION, AND THE "R" COULD ALMOST STAND FOR REPUBLIC
COULD ALMOST STAND FOR REPUBLIC OR REVOLUTION.
OR REVOLUTION.
IN CHINESE, THE NAME SOUNDS LIKE
IN CHINESE, THE NAME SOUNDS LIKE THE PEOPLE'S CITY.
THE PEOPLE'S CITY.
SO IT COMES TO TAKE ON ALL THESE
SO IT COMES TO TAKE ON ALL THESE ASSOCIATIVE MEANINGS.
ASSOCIATIVE MEANINGS.
I THINK IT SOUNDS LIKE "REMEMBER
I THINK IT SOUNDS LIKE "REMEMBER CITY," A CITY OF MEMORIES.
I DON'T THINK THAT BUILDING MY
I DON'T THINK THAT BUILDING MY OWN CITY IS AN EXPRESSION
OWN CITY IS AN EXPRESSION OF INDIVIDUALISM.
OF INDIVIDUALISM.
I FEEL IT IS PRECISELY AN
I FEEL IT IS PRECISELY AN ACKNOWLEDGMENT OF THE BELIEF IN
ACKNOWLEDGMENT OF THE BELIEF IN AND THE PRACTICE OF DEMOCRACY.
AND THE PRACTICE OF DEMOCRACY.
I THINK THIS PROJECT WILL LEAD
I THINK THIS PROJECT WILL LEAD TO THE FOUNDATION ON WHICH TO
TO THE FOUNDATION ON WHICH TO EXPERIMENT WITH UTOPIAN
EXPERIMENT WITH UTOPIAN PRACTICES.
>> announcer: NEXT TIME
>> announcer: NEXT TIME ART:21,
ART:21, ART IN THE 21ST CENTURY...
ART IN THE 21ST CENTURY... >> I WANTED TO MAKE PICTURES
>> I WANTED TO MAKE PICTURES THAT WERE REALLY IN YOUR FACE.
THAT WERE REALLY IN YOUR FACE.
I'M NOT TRYING TO SATISFY
I'M NOT TRYING TO SATISFY AN AUDIENCE.
AN AUDIENCE.
MY RESPONSIBILITY IS TO THE
MY RESPONSIBILITY IS TO THE IDEA.
IDEA.
>> I'VE ALWAYS ENJOYED USING
>> I'VE ALWAYS ENJOYED USING BEAUTY AND SEDUCTION AS A WAY OF
BEAUTY AND SEDUCTION AS A WAY OF ENGAGING PEOPLE.
CaptionMax
CaptionMax www.captionmax.com
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>> announcer: TO LEARN MORE ART: 21,
ART: 21, ART IN THE 21ST CENTURY
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