[So I just pull it?]
[A lot?]
[Can I pull on it a lot?]
Improvisation is crucial.
I want the work to be sort of an experience of something live--
To have this feeling that it was improvised,
That you can see decisions happening on site,
The way you see a live sports event,
The way you hear jazz.
The spontaneous is always where it's the most interesting,
for the artist and for the viewer.
The "Encyclopedia" piece, when it went to France, for example,
We went to local stores,
Actually, I didn't even need to go to local stores--
It was what we were eating,
What was in the hotel,
And I added it into the piece.
You can spend a lot of time conceptualizing and thinking it over
and then it's usually in the actual making and the process
where there is something spontaneous that,
After all that planning,
You had no idea was going to happen,
And when that happens is when it's interesting.
When you experience the piece,
You think about its making,
You think about its demise,
And you feel like when you come to it
It's actually a moment in time.
The work looks like a science experiment,
It looks like you come into someone's studio,
Or someone's lab,
And you're seeing the process as it happens,
And that the outcome is not clear.
So you'll be in a section where you find little things
That almost look like jewelry.
But then when it starts to look too much like jewelry
I'll switch it over to looking like a shoe store.
And if it looks too much like a shoe store
I'll make it look like a morgue.
At the very core of the work, I'm thinking about
The edge between life and art,
And trying to have the viewer
Move in and out of that all the time.
So something that's very familiar
Juxtaposed with something that's very unfamiliar.
When you see it, you know that
There was a kind of tinkering that was discovered,
That that's something we'd been fooling around with
A lot of things to come to that.
The viewer actually, I think, experiences
That kind of discovery that I actually have.