0:00:09.057,0:00:10.097 - Okay, let's do it again. 0:00:13.369,0:00:15.469 Can we try one more thing 0:00:15.469,0:00:17.527 before Anne comes out[br]to see if it works? 0:00:17.527,0:00:19.000 We could just leave it[br]like that. 0:00:19.000,0:00:20.000 Don't even turn it. 0:00:20.000,0:00:21.000 Can you do it again, Evan, 0:00:21.000,0:00:22.689 but then do something[br]more dynamic 0:00:22.689,0:00:25.426 so we get a sense of, like,[br]a changed gesture? 0:00:25.680,0:00:28.621 Like lift your arms up[br]and put one foot forward. 0:00:29.306,0:00:30.770 Three, two, one. 0:00:32.013,0:00:34.535 [ laughter ] 0:00:35.448,0:00:38.032 Okay, okay, I think we're ready. 0:00:38.634,0:00:39.166 Can you put them on? 0:00:39.166,0:00:39.666 - Yeah. 0:00:40.554,0:00:41.964 - You look very beautiful. 0:00:43.283,0:00:44.964 I've never seen[br]such a beautiful lady. 0:00:45.801,0:00:47.060 I was working with the idea 0:00:47.060,0:00:52.370 of Anne playing the part of Eurydice[br]inspired by Cocteau's Orpheus. 0:00:52.370,0:00:53.780 That's it. 0:00:54.795,0:00:55.580 - That's it? 0:00:57.407,0:00:58.437 - We're ready. 0:00:58.437,0:01:00.899 [ laughter ][br]- Whoa, that's a lot of dress. 0:01:00.899,0:01:02.700 - It is a lot of dress. 0:01:02.935,0:01:04.534 - Tilt it this way[br]so you can see it. 0:01:06.981,0:01:08.463 so you stand here. 0:01:08.463,0:01:09.659 And just make sure[br]that you're staring 0:01:09.659,0:01:11.112 at the camera into the mirror. 0:01:12.000,0:01:15.080 Elliott knew that I had modeled[br]a number of years ago. 0:01:15.902,0:01:17.780 It was something[br]that he asked me to do, 0:01:17.780,0:01:19.221 and I thought "Well, why not? 0:01:19.221,0:01:20.052 It'll be fun." 0:01:20.534,0:01:21.325 - Okay, go. 0:01:21.325,0:01:22.325 Ready? 0:01:25.040,0:01:29.315 Anne, will you step six inches[br]forward towards the mirror? 0:01:30.000,0:01:36.000 Right after that light goes off,[br]you turn to look at Teddy. 0:01:37.031,0:01:38.099 Three, two, one. 0:01:40.509,0:01:41.490 Perfect. 0:01:41.820,0:01:45.700 I wanted it to be very mannered,[br]very artificial, 0:01:45.700,0:01:48.189 very posed and theatrical. 0:01:48.772,0:01:50.050 Three, two, one. 0:01:50.050,0:01:53.544 I wanted the image to be about[br]her relationship to the mirror 0:01:53.899,0:01:57.186 and the mirror as a picture[br]within a picture. 0:01:57.186,0:01:58.406 Three, two, one. 0:02:00.740,0:02:03.829 - I'm not afraid of bringing[br]the character to the image. 0:02:03.829,0:02:04.829 I enjoy that, 0:02:04.829,0:02:09.069 And I think that Elliott[br]feels comfortable with that 0:02:09.069,0:02:11.009 and maybe inspired by that. 0:02:11.009,0:02:12.050 - Great, Anne. 0:02:12.050,0:02:17.140 - I also enjoy the fact that I'm[br]helping create a work of art. 0:02:17.140,0:02:18.334 To me, it's wonderful. 0:02:19.299,0:02:19.799 - Perfect. 0:02:19.799,0:02:20.799 We made it. 0:02:20.799,0:02:22.234 Let's do several of those. 0:02:22.887,0:02:24.280 And keep changing the way[br]that you do it. 0:02:24.280,0:02:24.849 That's perfect. 0:02:25.001,0:02:30.150 - I remember seeing myself[br]in the museum in San Francisco. 0:02:30.150,0:02:31.629 That's quite a feeling. 0:02:32.010,0:02:34.734 You're looking at a painting and think,[br]"Oh, my goodness, that's me." 0:02:34.734,0:02:35.404 [ laughs ] 0:02:35.939,0:02:37.540 Turning or not turning? 0:02:37.540,0:02:38.815 - Not turning, let's try that. 0:02:39.348,0:02:40.770 - I believe in him as an artist. 0:02:40.770,0:02:41.770 - Three, two, one. 0:02:41.770,0:02:44.670 - I feel that I've been a part[br]of his growth too, 0:02:44.670,0:02:45.598 which is amazing. 0:02:47.247,0:02:53.680 - The photo shoot is so elaborate[br]but not because I want a certain effect 0:02:53.680,0:02:56.530 but because actually I want[br]to not control the effects, 0:02:56.530,0:02:59.034 so that adds an air[br]of unexpected results. 0:02:59.034,0:02:59.534 - That's amazing. 0:02:59.534,0:03:00.621 - Three, two, one. 0:03:05.232,0:03:06.440 Good, made it. 0:03:07.074,0:03:07.574 - Oh, what just happened? 0:03:07.574,0:03:08.074 - What happened? 0:03:08.074,0:03:08.719 - The power's out. 0:03:09.885,0:03:12.104 - Where are the ice machines[br]plugged up, y'all? 0:03:14.236,0:03:15.070 Uh-huh. 0:03:16.136,0:03:17.334 - I think it's that. 0:03:27.329,0:03:34.060 - I am laying down arbitrary color and drawings[br]and compositions, 0:03:34.060,0:03:38.069 some of which are taken from photographs[br]or even still lifes. 0:03:38.830,0:03:39.810 That's no good. 0:03:39.810,0:03:41.560 I consider them the underpaintings 0:03:41.560,0:03:44.062 of all the things[br]that I'm making for the show. 0:03:47.030,0:03:48.230 They're pretty developed, 0:03:48.230,0:03:51.000 because I want to start[br]the painting 0:03:51.000,0:03:52.231 with a picture already. 0:03:53.550,0:03:55.335 Slide it over there. 0:04:02.958,0:04:05.400 The first known collage[br]that I've read about 0:04:05.400,0:04:08.635 was made over a millennium ago. 0:04:08.635,0:04:11.390 Collage has been used[br]in so many different ways 0:04:11.390,0:04:12.919 for hundreds of years– 0:04:13.350,0:04:17.017 cutouts, silhouettes,[br]forms of scrapbooking. 0:04:19.199,0:04:22.199 Within the last 100 years,[br]it's become 0:04:22.199,0:04:25.201 one of the most relevant forms[br]of art making. 0:04:28.982,0:04:31.169 It is so important 0:04:31.169,0:04:35.789 because of the quantity of[br]images that are in our lives. 0:04:35.789,0:04:38.090 Intrinsically, it is our world. 0:04:38.090,0:04:39.534 It reflects our reality. 0:04:40.880,0:04:44.169 I'm just a natural hoarder[br]or collector. 0:04:44.169,0:04:47.665 Acquiring objects[br]is learning about objects. 0:04:49.416,0:04:54.714 - Elliott and I frequent[br]swap meets and thrift stores. 0:04:54.714,0:04:58.070 I work closely with him[br]on these large collages, 0:04:58.070,0:04:59.505 preparing materials. 0:05:00.000,0:05:02.300 - Everything you see here, it's[br]what we use for the sculpture, 0:05:03.124,0:05:06.810 from, like, you know, wood[br]to metal, plastic. 0:05:07.546,0:05:11.350 - Bits of paper that have been cut apart[br]and will be pinned into the surface 0:05:11.350,0:05:12.391 of these collages. 0:05:12.949,0:05:16.160 We can get this large collection[br]of materials like this 0:05:16.160,0:05:20.170 that we'll file away until we need it. 0:05:20.170,0:05:22.130 - Anyone who's ever put a stamp[br]on an envelope 0:05:22.130,0:05:24.860 or a note on the refrigerator 0:05:24.860,0:05:27.450 knows what it's like[br]to make a collage. 0:05:27.450,0:05:30.270 There's no esoteric technique. 0:05:35.724,0:05:40.449 I enjoy the transformative[br]aspect of collage. 0:05:40.449,0:05:43.610 You can take something cast off[br]and give it a new life. 0:05:49.699,0:05:52.643 I first went to rome in 1995[br]to study. 0:05:53.480,0:05:56.870 My school had this program[br]to go to Italy, 0:05:56.870,0:05:58.039 and I would have gone anywhere. 0:05:58.039,0:06:00.984 I was so ready to see the world[br]at that point. 0:06:02.100,0:06:04.966 Not only did I feel that very[br]immediate, intimate connection 0:06:04.966,0:06:06.934 with historical works of art; 0:06:07.720,0:06:12.287 I also found that sense of time[br]that I'd never encountered before. 0:06:15.560,0:06:20.250 I lived In this basement apartment,[br]but it happened to have a courtyard 0:06:20.250,0:06:23.635 with columns that were[br]over 2,000 years old. 0:06:26.400,0:06:30.069 because of that experience,[br]I'm always trying to layer in 0:06:30.069,0:06:31.870 a sense that the picture was built 0:06:31.870,0:06:33.704 over an extended period. 0:06:40.630,0:06:44.150 I selected several images[br]when I started working today. 0:06:44.150,0:06:47.979 I thought that these shapes[br]were, like, an effective way 0:06:47.979,0:06:52.310 to throw a really simple[br]patterning into the background. 0:06:52.310,0:06:54.440 I used it in a completely[br]different palette. 0:06:54.440,0:06:58.331 It's a very simple shape made with brushstrokes[br]that references a landscape. 0:07:12.675,0:07:15.370 I use these envelopes[br]as if they're tubes of paint, 0:07:15.370,0:07:16.406 like paint chips. 0:07:17.370,0:07:18.591 There is no perfect painting, 0:07:18.591,0:07:20.303 and there is[br]no perfect solution. 0:07:21.039,0:07:22.199 At any given moment, 0:07:22.199,0:07:26.039 there's ten pieces of paper[br]that I could pick up next, 0:07:26.039,0:07:28.340 and they would find their place,[br]and they would lead me 0:07:28.340,0:07:31.199 on a different path[br]to a different sort of picture. 0:07:31.757,0:07:33.789 I just have to trust that process. 0:07:35.311,0:07:39.266 In relinquishing some control,[br]it allows me some distance. 0:07:40.501,0:07:43.230 I start to feel like the artwork[br]is responding to me, 0:07:43.915,0:07:45.600 giving me something back, 0:07:45.600,0:07:48.614 or becoming something[br]that I never expected. 0:07:50.720,0:07:55.255 I enjoy that moment[br]of not recognizing my own hand. 0:08:02.460,0:08:04.440 - The most exciting aspect of this 0:08:04.440,0:08:08.629 was to see the choices[br]Elliott makes in a piece, 0:08:09.720,0:08:11.389 how he'll work on it[br]for a while 0:08:11.389,0:08:13.259 but feel comfortable[br]putting it aside 0:08:13.259,0:08:14.601 and coming back to it. 0:08:15.750,0:08:17.740 Things are a bit malleable. 0:08:18.323,0:08:19.170 They can change. 0:08:19.830,0:08:20.819 I think it's pretty brave 0:08:20.819,0:08:23.250 to be able[br]to change something up midway 0:08:23.250,0:08:26.063 and feel very comfortable[br]and fluid. 0:08:27.103,0:08:28.560 Elliott's a great teacher. 0:08:29.017,0:08:30.190 I think he does[br]a really good job 0:08:30.190,0:08:32.500 of finding people's strengths. 0:08:32.500,0:08:35.424 It's almost like working[br]with a choreographer. 0:08:36.717,0:08:38.442 I get notes from Elliott. 0:08:38.442,0:08:40.860 - Connect these two forms. 0:08:40.860,0:08:41.860 - Okay. 0:08:41.860,0:08:43.529 - Basically, build this... 0:08:43.529,0:08:47.470 - A lot of it is trying[br]to enhance or bring out 0:08:47.470,0:08:50.440 a lot of what's happening[br]on the surface. 0:08:50.440,0:08:54.399 We collage an image down[br]onto the carved piece 0:08:54.399,0:08:56.340 and then glue it down, 0:08:56.340,0:09:00.290 but a lot of color and detail[br]gets lost in that process, 0:09:00.290,0:09:03.254 oo we use a photograph[br]as a reference. 0:09:06.000,0:09:10.420 I was dazzled[br]by the amount of labor 0:09:10.420,0:09:12.725 that was put into a piece. 0:09:21.579,0:09:24.760 My family's lived[br]in North Carolina and Virginia 0:09:24.760,0:09:26.760 for as long as we know. 0:09:28.460,0:09:33.779 I was the first grandchild[br]and the first great-grandchild, 0:09:33.779,0:09:37.250 one young person[br]spending a lot of time 0:09:37.250,0:09:41.320 with about 20 people[br]who were much older than I was. 0:09:41.320,0:09:44.432 I'm sure that that affected me[br]from a young age. 0:09:52.500,0:09:53.500 The pieces of paper 0:09:53.500,0:09:56.209 that are just hanging[br]on the surface right now 0:09:56.209,0:09:59.100 are almost like sketches,[br]and they change constantly, 0:09:59.100,0:10:02.672 But I'm blocking out[br]potential compositions, 0:10:03.205,0:10:04.560 seeing what it would look like 0:10:04.560,0:10:06.589 if the color[br]of a certain section 0:10:06.589,0:10:07.966 went in a certain direction. 0:10:20.499,0:10:23.011 - I am gluing it, and by using[br]this little thing, 0:10:24.254,0:10:26.950 I'm just, like,[br]applying pressure, 0:10:26.950,0:10:29.380 making sure that it's,[br]you know, flat 0:10:29.380,0:10:31.608 and really well glued on[br]to the surface. 0:10:33.029,0:10:35.980 - The compositional structure[br]for this picture 0:10:35.980,0:10:41.399 is directly based on japanese[br]prints from the late 1800s– 0:10:41.399,0:10:43.779 the scale of the figure[br]within the picture, 0:10:43.779,0:10:45.380 the repetition of panels. 0:10:45.380,0:10:49.280 In Japanese triptychs,[br]the figures are distinct, 0:10:49.280,0:10:52.320 but because the composition[br]is divided in that way, 0:10:52.320,0:10:55.029 there is a feeling[br]of a sequence of events 0:10:55.029,0:10:57.121 unfolding frame to frame. 0:10:58.669,0:11:00.510 And another influence[br]of Japanese prints 0:11:00.510,0:11:03.089 is in the intricacy[br]of conflicting pattern 0:11:03.089,0:11:05.074 and the vibrancy of the color. 0:11:10.985,0:11:14.260 I first became interested[br]in Japanese prints 0:11:14.260,0:11:19.350 when I discovered the work[br]of kunisada, sort of mid-1800s. 0:11:19.350,0:11:21.060 When woodblock printing started, 0:11:21.060,0:11:24.700 there were fewer colors,[br]fainter and more simple. 0:11:24.700,0:11:27.100 As the form progressed, 0:11:27.100,0:11:30.410 the complexity of the images increased. 0:11:30.801,0:11:32.291 Very intricate patterns. 0:11:32.560,0:11:35.540 Often conflicting, brilliant colors. 0:11:36.200,0:11:39.059 They're so energetic, they're almost noisy. 0:11:42.104,0:11:45.661 Seeing a work in its ripest[br]point in development. 0:11:47.589,0:11:49.459 I think that it would be impossible 0:11:49.459,0:11:52.200 For some of those Kunisada triptychs 0:11:52.200,0:11:55.109 To get any more information in them. 0:12:09.570,0:12:14.630 I keep every photograph and[br]every material I've ever made. 0:12:14.630,0:12:18.000 I keep all of the pieces[br]that I remove from works of art. 0:12:19.066,0:12:22.880 When a work's complete,[br]I sweep the floor underneath 0:12:22.880,0:12:26.329 and put all the contents in a box[br]and put away in storage. 0:12:28.079,0:12:34.330 All of that material is ready to become[br]the beginning of new works in the future. 0:12:34.330,0:12:35.420 Ooh, that's good. 0:12:35.420,0:12:36.420 - Okay. 0:12:36.420,0:12:37.420 - I'll use both. 0:12:37.420,0:12:39.600 I grew up in a culture of saving. 0:12:39.600,0:12:43.290 I've come from a family[br]where every object has a story 0:12:43.290,0:12:45.580 and the object becomes meaningful. 0:12:45.580,0:12:49.070 Probably every attic and every[br]basement in my family 0:12:49.070,0:12:51.242 is full of all that junk. 0:12:53.830,0:12:56.699 My mother made costumes[br]for all of her kids, 0:12:56.699,0:12:58.579 but she also did it for a job, 0:12:58.579,0:13:01.699 for a local[br]costume rental place, 0:13:01.699,0:13:04.649 costumes for Halloween[br]or for the theater. 0:13:06.780,0:13:08.649 I was thinking about[br]all of the things 0:13:08.649,0:13:10.190 my mother and I[br]used to make together, 0:13:10.190,0:13:15.139 all sorts of crafts or ceramics[br]or dried flower arrangements 0:13:15.139,0:13:16.828 and definitely drawings. 0:13:18.578,0:13:20.849 She was teaching me[br]the joy of making things. 0:13:21.890,0:13:23.621 Maybe it kind of starts[br]right under that. 0:13:23.621,0:13:24.674 - Okay. 0:13:24.674,0:13:27.134 - But then remove this. 0:13:32.411,0:13:34.358 See her arm? 0:13:34.358,0:13:40.237 And then that and that[br]and this and this 0:13:40.237,0:13:43.552 and maybe some of that,[br]this, this. 0:13:44.948,0:13:46.582 It might go down that far. 0:13:47.470,0:13:48.470 Yeah, it will. 0:13:48.470,0:13:49.470 - Okay. 0:13:53.707,0:13:56.813 - I've always looked at[br]Rauschenberg and Twombly's work. 0:13:56.813,0:13:59.920 I have an intuitive relationship[br]to those artists. 0:13:59.920,0:14:03.743 The formal connection of my work[br]to Rauschenberg is apparent. 0:14:05.570,0:14:09.720 I think of the materials that[br]I use as being on a spectrum 0:14:09.720,0:14:14.260 from the identifiable found object[br]to the fictive illusion. 0:14:16.848,0:14:20.579 The fiction of a picture[br]is its transformation, 0:14:21.086,0:14:26.310 But to make that transformation compelling,[br]it still needs to be tethered to reality, 0:14:26.310,0:14:27.750 which is the found object. 0:14:37.131,0:14:38.940 - After the collage process, 0:14:38.940,0:14:42.709 Elliott will choose an image[br]to be carved into the collage. 0:14:43.115,0:14:45.071 In this case,[br]it was a broken window. 0:14:46.745,0:14:50.310 The piece will get carved,[br]things sort of change and alter, 0:14:50.310,0:14:57.260 and then Elliott will choose an image[br]to be embroidered onto the carved surface. 0:15:01.573,0:15:08.910 The collage is placed on foam,[br]and then that allows us to carve into the surface. 0:15:08.910,0:15:10.749 It looks very much like a canvas. 0:15:14.580,0:15:15.770 - I call it embroidery. 0:15:15.770,0:15:19.230 It's just pinning one string with one pin[br]to a painting, 0:15:19.230,0:15:21.730 almost like the surface of a tapestry. 0:15:22.796,0:15:26.631 You follow that train of thought[br]until the entire surface is covered. 0:15:30.310,0:15:34.279 A lot of the embroideries[br]are actually my own paintings 0:15:34.279,0:15:36.513 translated into a new material. 0:15:43.540,0:15:44.540 - I'd read a book about Bernini. 0:15:44.540,0:15:45.589 He was a sculptor. 0:15:45.589,0:15:46.640 He was an architect. 0:15:46.640,0:15:49.895 He also had a large studio, and[br]he worked with other artisans. 0:15:50.580,0:15:53.639 It was interesting[br]to come in here soon afterwards 0:15:53.639,0:15:54.649 and work with Elliott 0:15:54.649,0:15:58.222 and see that there's sort of a[br]continuation of that tradition. 0:16:07.050,0:16:09.259 - I'm trying to keep[br]the embroidery in the middle 0:16:09.259,0:16:10.899 for most of these pieces, 0:16:10.899,0:16:13.988 'cause it's such a concentrated[br]sense of activity, 0:16:15.358,0:16:18.575 almost a metaphor[br]for a sense of focus. 0:16:20.959,0:16:23.170 As you move towards[br]the perimeter of the picture, 0:16:23.170,0:16:25.880 things are moving[br]into your peripheral vision. 0:16:29.305,0:16:31.730 I am really thinking of them[br]not only as pictures within pictures 0:16:31.730,0:16:33.770 but almost like setting a stage. 0:16:33.770,0:16:35.459 You can pan out further away 0:16:35.459,0:16:38.459 and have a sense[br]of the wings of the theatre 0:16:38.459,0:16:42.000 or the table[br]that the piece was made on. 0:16:53.547,0:16:55.771 Initially, I was just working in painting. 0:16:57.420,0:16:59.250 That led me to work in collage. 0:16:59.250,0:17:04.819 The ideas that I had about collage[br]led me to incorporate straight pins, 0:17:04.819,0:17:06.732 which meant that I stepped[br]into sculpture. 0:17:08.102,0:17:11.900 As those ideas grew, I followed[br]my train of thought 0:17:11.900,0:17:14.140 and disregarded[br]making a distinction 0:17:14.140,0:17:16.033 about what's a painting[br]or a sculpture. 0:17:26.001,0:17:27.320 Everything that I make, 0:17:27.320,0:17:28.860 I really try to take the attitude 0:17:28.860,0:17:31.030 that they could be finished[br]at any moment. 0:17:31.030,0:17:32.320 You have to think that way, 0:17:32.320,0:17:36.103 because at some point,[br]you have to stop. 0:17:57.350,0:18:00.510 I put the work in the gallery[br]to show evidence 0:18:00.510,0:18:04.541 of the entirety of the life[br]of its making. 0:18:08.093,0:18:09.860 No mystery is lost. 0:18:09.860,0:18:10.448 It's all here. 0:18:12.452,0:18:14.419 Every technique is self-evident. 0:18:15.738,0:18:17.436 There's no secrets.