I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
Things change and work changes. Right now I like the idea of enveloping a space and getting messages across that connect to the world in ways that seem familiar but are different.
I’m trying to engage issues of power and sexuality and money and life and death and power. Power is the most free-flowing element in society, maybe next to money, but in fact they both motor each other.
I like suggesting that ‘we are slaves to the objects around us,’ that ‘plenty should be enough,’ or that the ‘buyer should beware,’ within the context of conventional selling space.
Architecture is my first love, if you want to talk about what moves me… the ordering of space, the visual pleasure, architecture’s power to construct our days and nights.
I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.
I have frequently said, and I will repeat again, in the manner of any well-meaning seriality, that I’m interested in mixing the ingratiation of wishful thinking with the criticality of knowing better.
The reason why bookstores are going out of business in the States is that people just can’t focus on longer narratives now – even narrative film is in crisis in many ways, unless it’s an adventure film.
I want to speak, show, see, and hear outrageously astute questions and comments. I want to be on the sides of pleasure and laughter and to disrupt the dour certainties of pictures, property, and power.
