[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:09.84,0:00:11.01,Default,,0000,0000,0000,,RONI HORN:\NFor me, there's this
Dialogue: 0,0:00:11.01,0:00:14.71,Default,,0000,0000,0000,,very hard balance between oneself
Dialogue: 0,0:00:14.71,0:00:17.72,Default,,0000,0000,0000,,and one's work and the audience.
Dialogue: 0,0:00:18.98,0:00:22.06,Default,,0000,0000,0000,,Some people live in a virtual\Nin-their-headspace.
Dialogue: 0,0:00:22.06,0:00:23.79,Default,,0000,0000,0000,,I don't.
Dialogue: 0,0:00:23.79,0:00:26.79,Default,,0000,0000,0000,,I like to keep my feet\Nin the moving water.
Dialogue: 0,0:00:30.63,0:00:32.06,Default,,0000,0000,0000,,My ambitions lie
Dialogue: 0,0:00:32.06,0:00:35.60,Default,,0000,0000,0000,,very much in dialog with my surroundings.
Dialogue: 0,0:00:36.74,0:00:40.57,Default,,0000,0000,0000,,I don't know that there's any one thing\Nthat attracts me to water, you know?
Dialogue: 0,0:00:40.57,0:00:42.54,Default,,0000,0000,0000,,And of course,\Nif you start to think about water,
Dialogue: 0,0:00:42.54,0:00:45.54,Default,,0000,0000,0000,,it just explodes because it's\Nso rich and...and,
Dialogue: 0,0:00:46.08,0:00:49.08,Default,,0000,0000,0000,,it's kind of everything and, nothing.
Dialogue: 0,0:00:49.92,0:00:52.38,Default,,0000,0000,0000,,I almost feel like I rediscover water
Dialogue: 0,0:00:52.38,0:00:55.39,Default,,0000,0000,0000,,again and again and again.
Dialogue: 0,0:00:57.82,0:01:00.63,Default,,0000,0000,0000,,So it isn't me going out after water.
Dialogue: 0,0:01:00.63,0:01:03.13,Default,,0000,0000,0000,,I think water's come in after me.
Dialogue: 0,0:01:03.13,0:01:04.43,Default,,0000,0000,0000,,It's really much more,
Dialogue: 0,0:01:04.43,0:01:08.20,Default,,0000,0000,0000,,much more the the the prey\Nand not the predator in that relationship.
Dialogue: 0,0:01:09.44,0:01:11.34,Default,,0000,0000,0000,,The Thames has,
Dialogue: 0,0:01:11.34,0:01:15.18,Default,,0000,0000,0000,,the interesting fact attached to it\Nthat it is the urban river
Dialogue: 0,0:01:15.18,0:01:19.31,Default,,0000,0000,0000,,with the highest appeal\Nto foreign suiciders.
Dialogue: 0,0:01:19.88,0:01:22.68,Default,,0000,0000,0000,,One of the points about shooting\Nthe Thames
Dialogue: 0,0:01:22.68,0:01:25.78,Default,,0000,0000,0000,,was, was the fact that its darkness\Nwas quite real,
Dialogue: 0,0:01:26.05,0:01:29.36,Default,,0000,0000,0000,,that people were in fact,\Nit wasn't just a a visual darkness,
Dialogue: 0,0:01:29.36,0:01:33.63,Default,,0000,0000,0000,,it was a psychological darkness,\Nand it was an actual darkness.
Dialogue: 0,0:01:33.63,0:01:36.63,Default,,0000,0000,0000,,And people are drawn to it...
Dialogue: 0,0:01:37.30,0:01:40.30,Default,,0000,0000,0000,,for that exit option.
Dialogue: 0,0:01:43.90,0:01:46.81,Default,,0000,0000,0000,,Even in its darkness,\Nit has this picturesque element.
Dialogue: 0,0:01:46.81,0:01:48.61,Default,,0000,0000,0000,,It's something about the human condition.
Dialogue: 0,0:01:48.61,0:01:51.84,Default,,0000,0000,0000,,It's not the water itself, it's humanity’s
Dialogue: 0,0:01:51.94,0:01:54.61,Default,,0000,0000,0000,,relationship to water,
Dialogue: 0,0:01:54.61,0:01:57.45,Default,,0000,0000,0000,,because that's almost a human need,
Dialogue: 0,0:01:57.45,0:02:00.45,Default,,0000,0000,0000,,that water be a positive force.
Dialogue: 0,0:02:01.62,0:02:03.46,Default,,0000,0000,0000,,Every photograph is wildly different,
Dialogue: 0,0:02:03.46,0:02:06.69,Default,,0000,0000,0000,,uh, even though you can be photographing\Nthe same thing. You know, from one minute
Dialogue: 0,0:02:06.69,0:02:11.63,Default,,0000,0000,0000,,to the next, it's, uh...almost\Ngot the complexity of a of a portrait.
Dialogue: 0,0:02:14.40,0:02:15.30,Default,,0000,0000,0000,,So, here we are.
Dialogue: 0,0:02:15.30,0:02:21.17,Default,,0000,0000,0000,,We're in essentially the second largest\Ntown in Iceland, which is 15,000 people.
Dialogue: 0,0:02:21.51,0:02:26.48,Default,,0000,0000,0000,,and it's called Akureyri. And it has the\Nlargest university outside of Reykjavík.
Dialogue: 0,0:02:27.31,0:02:31.25,Default,,0000,0000,0000,,The weather's often quite poor in this area,\Nso you can stay inside.
Dialogue: 0,0:02:31.25,0:02:32.82,Default,,0000,0000,0000,,You can move about once you're in there,
Dialogue: 0,0:02:32.82,0:02:37.16,Default,,0000,0000,0000,,it's like a little interior\Nkind of, uh, metropolis.
Dialogue: 0,0:02:37.89,0:02:40.36,Default,,0000,0000,0000,,And the piece is,
Dialogue: 0,0:02:40.36,0:02:43.36,Default,,0000,0000,0000,,very large, about 80 photographs.
Dialogue: 0,0:02:43.53,0:02:47.40,Default,,0000,0000,0000,,The idea is to lay it out in a way\Nthat is a flow through the building.
Dialogue: 0,0:02:48.20,0:02:51.34,Default,,0000,0000,0000,,But depending on who you are\Nand how you use the building, it's
Dialogue: 0,0:02:51.34,0:02:55.98,Default,,0000,0000,0000,,a discovery process that could occur over\Ndays, months, or even years.
Dialogue: 0,0:02:57.68,0:02:59.14,Default,,0000,0000,0000,,I like very much the idea
Dialogue: 0,0:02:59.14,0:03:02.15,Default,,0000,0000,0000,,that the scale of the work is unknown...
Dialogue: 0,0:03:02.65,0:03:05.25,Default,,0000,0000,0000,,but pervasive...
Dialogue: 0,0:03:05.25,0:03:09.56,Default,,0000,0000,0000,,not dominating it,\Nbut setting kind of a tone for the space.
Dialogue: 0,0:03:10.26,0:03:12.52,Default,,0000,0000,0000,,[ man lecturing in Icelandic ]
Dialogue: 0,0:03:13.36,0:03:15.23,Default,,0000,0000,0000,,You're bringing the nature
Dialogue: 0,0:03:15.23,0:03:18.33,Default,,0000,0000,0000,,inside the university walls.
Dialogue: 0,0:03:18.83,0:03:21.83,Default,,0000,0000,0000,,And it makes you calm.
Dialogue: 0,0:03:21.87,0:03:26.44,Default,,0000,0000,0000,,You see the students flow down the halls\Nand with the water.
Dialogue: 0,0:03:26.47,0:03:29.44,Default,,0000,0000,0000,,So for me,\Nit's really changed the atmosphere.
Dialogue: 0,0:03:29.68,0:03:33.21,Default,,0000,0000,0000,,It's like a very fine\Ncombination of people
Dialogue: 0,0:03:33.21,0:03:36.18,Default,,0000,0000,0000,,flowing around\Nand the water flowing around.
Dialogue: 0,0:03:36.45,0:03:39.59,Default,,0000,0000,0000,,I think it's really great\Nto have the water inside the building.
Dialogue: 0,0:03:42.72,0:03:43.06,Default,,0000,0000,0000,,HORN: Of course,
Dialogue: 0,0:03:43.06,0:03:46.06,Default,,0000,0000,0000,,I always thought of Iceland\Nas a kind of studio for me,
Dialogue: 0,0:03:46.33,0:03:49.33,Default,,0000,0000,0000,,or a quarry.
Dialogue: 0,0:03:49.73,0:03:50.56,Default,,0000,0000,0000,,Maybe a quarry
Dialogue: 0,0:03:50.56,0:03:55.00,Default,,0000,0000,0000,,is a good metaphor, because I always feel\Nlike I'm involved in a process of,
Dialogue: 0,0:03:55.20,0:03:58.17,Default,,0000,0000,0000,,if not hunting,\Nat least mining of some sort.
Dialogue: 0,0:03:59.10,0:04:01.37,Default,,0000,0000,0000,,For Iceland, it's\Nnot so much about memory,
Dialogue: 0,0:04:01.37,0:04:04.38,Default,,0000,0000,0000,,it's...it's more about that place
Dialogue: 0,0:04:04.78,0:04:07.78,Default,,0000,0000,0000,,and my need to be there.
Dialogue: 0,0:04:08.98,0:04:12.78,Default,,0000,0000,0000,,I had traveled in this area a\Nnumber of times and I knew the lighthouse,
Dialogue: 0,0:04:13.89,0:04:15.29,Default,,0000,0000,0000,,so I asked
Dialogue: 0,0:04:15.29,0:04:18.29,Default,,0000,0000,0000,,the municipality if I could live in it.
Dialogue: 0,0:04:19.22,0:04:22.90,Default,,0000,0000,0000,,They eventually said it was okay,\Nand, uh, I went up there
Dialogue: 0,0:04:22.90,0:04:25.90,Default,,0000,0000,0000,,and sat around and looked at the weather\Nfor a couple months--
Dialogue: 0,0:04:26.83,0:04:29.84,Default,,0000,0000,0000,,a little bit of reading\Na little bit of drawing.
Dialogue: 0,0:04:33.27,0:04:35.11,Default,,0000,0000,0000,,It was a psychological clearing,
Dialogue: 0,0:04:35.11,0:04:38.91,Default,,0000,0000,0000,,and then it was also a way to connect\Nwith this island.
Dialogue: 0,0:04:41.28,0:04:42.62,Default,,0000,0000,0000,,There was no ambition.
Dialogue: 0,0:04:42.62,0:04:43.72,Default,,0000,0000,0000,,It was just to be there.
Dialogue: 0,0:04:43.72,0:04:46.02,Default,,0000,0000,0000,,It's just real simple.
Dialogue: 0,0:04:46.02,0:04:50.49,Default,,0000,0000,0000,,That was the whole agenda\Nfor the couple months, was just be there,
Dialogue: 0,0:04:50.79,0:04:53.79,Default,,0000,0000,0000,,and it couldn't have been, in a way,\Nmore simple and more difficult.
Dialogue: 0,0:04:56.86,0:04:58.53,Default,,0000,0000,0000,,“You are the Weather”--
Dialogue: 0,0:04:58.53,0:05:02.37,Default,,0000,0000,0000,,the viewer walks in and you're surrounded \Nby up to a hundred images,
Dialogue: 0,0:05:02.37,0:05:07.27,Default,,0000,0000,0000,,which are one portrait of\Na person who is a multitude.
Dialogue: 0,0:05:09.71,0:05:14.01,Default,,0000,0000,0000,,WOMAN: The original idea was to do this\Nbook on me,
Dialogue: 0,0:05:14.28,0:05:17.65,Default,,0000,0000,0000,,which was not to be on me as a person,
Dialogue: 0,0:05:17.65,0:05:20.65,Default,,0000,0000,0000,,but using my face as a place.
Dialogue: 0,0:05:20.69,0:05:22.32,Default,,0000,0000,0000,,So the situation was just me
Dialogue: 0,0:05:22.32,0:05:25.76,Default,,0000,0000,0000,,going into the water,\Nand then she started photographing.
Dialogue: 0,0:05:26.19,0:05:29.76,Default,,0000,0000,0000,,And she didn't give me any directions\Nexcept for looking
Dialogue: 0,0:05:29.76,0:05:32.76,Default,,0000,0000,0000,,into the lens of the camera.
Dialogue: 0,0:05:34.10,0:05:38.44,Default,,0000,0000,0000,,HORN: It was very much of a wordless interaction\Nfor the two months we spent together.
Dialogue: 0,0:05:38.87,0:05:43.41,Default,,0000,0000,0000,,And, uh, water\Nbecame a very important part of the bond
Dialogue: 0,0:05:43.41,0:05:46.41,Default,,0000,0000,0000,,and the image and, the subject.
Dialogue: 0,0:05:47.48,0:05:49.32,Default,,0000,0000,0000,,The viewer relationship
Dialogue: 0,0:05:49.32,0:05:53.15,Default,,0000,0000,0000,,to the portrait is, I think, very erotic,
Dialogue: 0,0:05:53.15,0:05:57.39,Default,,0000,0000,0000,,because there is this eye contact\Nand this ambiguity.
Dialogue: 0,0:05:58.46,0:06:01.29,Default,,0000,0000,0000,,MODEL: We were spending a lot of time together
Dialogue: 0,0:06:01.29,0:06:04.13,Default,,0000,0000,0000,,that affected the work, because
Dialogue: 0,0:06:04.13,0:06:06.93,Default,,0000,0000,0000,,that created this trust,
Dialogue: 0,0:06:08.63,0:06:11.64,Default,,0000,0000,0000,,which is very important.
Dialogue: 0,0:06:12.10,0:06:14.01,Default,,0000,0000,0000,,HORN: In the case of \NYou Are the Weather,
Dialogue: 0,0:06:14.01,0:06:18.91,Default,,0000,0000,0000,,I was curious to see\Nif I could elicit a place from her face,
Dialogue: 0,0:06:18.91,0:06:21.65,Default,,0000,0000,0000,,almost like a landscape--\Nnot...not in a literal sense,
Dialogue: 0,0:06:21.65,0:06:24.65,Default,,0000,0000,0000,,but how close those identities were.
Dialogue: 0,0:06:25.65,0:06:28.45,Default,,0000,0000,0000,,MODEL: And I remember when \NI went to the opening,
Dialogue: 0,0:06:28.45,0:06:31.46,Default,,0000,0000,0000,,I was shy to enter that room.
Dialogue: 0,0:06:32.42,0:06:37.66,Default,,0000,0000,0000,,But my son, who was only five years old\Nat the time, he thought it was fantastic
Dialogue: 0,0:06:37.66,0:06:40.67,Default,,0000,0000,0000,,and I would keep thinking of like,\Nyou know, going into a room,
Dialogue: 0,0:06:40.80,0:06:43.77,Default,,0000,0000,0000,,but only seeing your mom on the wall--
Dialogue: 0,0:06:43.77,0:06:46.17,Default,,0000,0000,0000,,that must be an experience.
Dialogue: 0,0:06:46.17,0:06:49.91,Default,,0000,0000,0000,,And he kept calling me and saying, “Come,\Ncome. Mom, have you seen this room?”
Dialogue: 0,0:06:49.91,0:06:52.11,Default,,0000,0000,0000,,It’s all you, it’s all you!”
Dialogue: 0,0:06:52.11,0:06:53.31,Default,,0000,0000,0000,,[ softly ]:\NOh...
Dialogue: 0,0:06:59.75,0:07:01.22,Default,,0000,0000,0000,,HORN: There's this swimming pool,
Dialogue: 0,0:07:01.22,0:07:04.22,Default,,0000,0000,0000,,actually, in Reykjavik\Nthat I really fell in love with.
Dialogue: 0,0:07:04.52,0:07:06.26,Default,,0000,0000,0000,,The swimming pool itself\Nis quite beautiful,
Dialogue: 0,0:07:06.26,0:07:10.03,Default,,0000,0000,0000,,but then when I went down to the locker\Nroom, the locker room was amazing.
Dialogue: 0,0:07:10.53,0:07:14.33,Default,,0000,0000,0000,,It just struck\Nme as not only a kind of a Mobius,
Dialogue: 0,0:07:14.33,0:07:16.84,Default,,0000,0000,0000,,because there are no edges,\Nthere's all surface.
Dialogue: 0,0:07:16.84,0:07:21.14,Default,,0000,0000,0000,,And there's not one interior exterior edge\Namong this net of lockers,
Dialogue: 0,0:07:21.17,0:07:25.78,Default,,0000,0000,0000,,it's just an endless tiled surface.\NAnd it's got a collection of doors
Dialogue: 0,0:07:25.78,0:07:29.28,Default,,0000,0000,0000,,that are both open and closed,\Nand it's got these peepholes.
Dialogue: 0,0:07:29.52,0:07:31.88,Default,,0000,0000,0000,,The peepholes are sort of\Nwhat really kind of drew me in,
Dialogue: 0,0:07:31.88,0:07:32.72,Default,,0000,0000,0000,,because you just wonder,
Dialogue: 0,0:07:32.72,0:07:35.72,Default,,0000,0000,0000,,"What the hell are those peepholes doing there?"\Nand nobody seems to know.
Dialogue: 0,0:07:35.99,0:07:38.32,Default,,0000,0000,0000,,It was this incredible
Dialogue: 0,0:07:38.32,0:07:41.33,Default,,0000,0000,0000,,kind of almost voyeuristic delight,\Nthis space.
Dialogue: 0,0:07:41.33,0:07:44.90,Default,,0000,0000,0000,,It was designed by a voyeur\Nand a chess player, I decided.
Dialogue: 0,0:07:44.90,0:07:49.50,Default,,0000,0000,0000,,I shot it in a way\Nto kind of bring out more of that sensual
Dialogue: 0,0:07:49.50,0:07:54.27,Default,,0000,0000,0000,,aspect to balance against the antiseptic\Nquality of the architecture.
Dialogue: 0,0:07:55.54,0:07:56.81,Default,,0000,0000,0000,,I shot them as
Dialogue: 0,0:07:56.81,0:08:00.08,Default,,0000,0000,0000,,almost like visual kind of, uh, traces.
Dialogue: 0,0:08:03.65,0:08:05.18,Default,,0000,0000,0000,,There is a resemblance in the way
Dialogue: 0,0:08:05.18,0:08:08.19,Default,,0000,0000,0000,,you move through the space\Nversus across a chessboard.
Dialogue: 0,0:08:15.16,0:08:16.86,Default,,0000,0000,0000,,NIECE: Ronnie is my aunt,
Dialogue: 0,0:08:16.86,0:08:19.83,Default,,0000,0000,0000,,and we have a really good relationship.
Dialogue: 0,0:08:20.20,0:08:22.54,Default,,0000,0000,0000,,For a while,\Nwe would send each other postcards
Dialogue: 0,0:08:22.54,0:08:26.37,Default,,0000,0000,0000,,with to animals or to people or to objects
Dialogue: 0,0:08:26.91,0:08:30.48,Default,,0000,0000,0000,,on them, and we would write,\N“This is me,” and point to one,
Dialogue: 0,0:08:30.48,0:08:31.94,Default,,0000,0000,0000,,“This is you.”
Dialogue: 0,0:08:31.94,0:08:36.52,Default,,0000,0000,0000,,Each of the pictures in the book are taken\Nabout two seconds or three seconds apart,
Dialogue: 0,0:08:36.52,0:08:40.05,Default,,0000,0000,0000,,so if you were to look at one picture...
Dialogue: 0,0:08:41.42,0:08:44.42,Default,,0000,0000,0000,,and then flip to the other side
Dialogue: 0,0:08:44.79,0:08:47.33,Default,,0000,0000,0000,,and look at the first picture,
Dialogue: 0,0:08:47.33,0:08:50.33,Default,,0000,0000,0000,,it would be the same image,
Dialogue: 0,0:08:50.33,0:08:53.10,Default,,0000,0000,0000,,but a few seconds later.
Dialogue: 0,0:08:53.10,0:08:56.27,Default,,0000,0000,0000,,HORN: So I really just recorded \Nher in action.
Dialogue: 0,0:08:56.27,0:08:59.27,Default,,0000,0000,0000,,And it looks like she's performing\Nand all that stuff,
Dialogue: 0,0:08:59.70,0:09:03.01,Default,,0000,0000,0000,,but you know, there's\Nthat period of a girl becoming a woman
Dialogue: 0,0:09:03.01,0:09:04.71,Default,,0000,0000,0000,,where they're trying on all these identities.
Dialogue: 0,0:09:04.71,0:09:06.81,Default,,0000,0000,0000,,It’s very much of a portrait of a girl,
Dialogue: 0,0:09:06.81,0:09:09.58,Default,,0000,0000,0000,,because all of that different dress\Nand the hair thing
Dialogue: 0,0:09:09.58,0:09:13.82,Default,,0000,0000,0000,,and the...all this stuff with\Nthe face was not orchestrated.
Dialogue: 0,0:09:16.02,0:09:18.26,Default,,0000,0000,0000,,NIECE: It does take place \Nover about three years,
Dialogue: 0,0:09:18.26,0:09:21.96,Default,,0000,0000,0000,,and just looking at it,\Nit's somewhat difficult to tell that it's
Dialogue: 0,0:09:21.96,0:09:23.70,Default,,0000,0000,0000,,the same person.
Dialogue: 0,0:09:23.70,0:09:27.30,Default,,0000,0000,0000,,For instance,\Nthis one I have really, really short hair.
Dialogue: 0,0:09:27.93,0:09:32.50,Default,,0000,0000,0000,,And then in this one\NI'm wearing some yellow
Dialogue: 0,0:09:32.50,0:09:35.51,Default,,0000,0000,0000,,glasses and I have longer hair.
Dialogue: 0,0:09:36.54,0:09:38.04,Default,,0000,0000,0000,,HORN: “Down by Water”--
Dialogue: 0,0:09:38.04,0:09:42.78,Default,,0000,0000,0000,,it's the interrelationship between the two\Nfaced image, the front-back composition.
Dialogue: 0,0:09:42.78,0:09:46.18,Default,,0000,0000,0000,,It's the drawing of the many elements\Ninteracting together,
Dialogue: 0,0:09:46.18,0:09:49.19,Default,,0000,0000,0000,,and it's the drawing of the viewer\Nthrough the space.
Dialogue: 0,0:09:51.62,0:09:53.46,Default,,0000,0000,0000,,And, you know,\Nthis was originally a bank building,
Dialogue: 0,0:09:53.46,0:09:56.46,Default,,0000,0000,0000,,and it's very beautifully proportioned\Nand very full of itself.
Dialogue: 0,0:09:57.26,0:10:00.27,Default,,0000,0000,0000,,You can see the paneling\Nand the detailing and everything is...
Dialogue: 0,0:10:01.07,0:10:04.14,Default,,0000,0000,0000,,uh, it's so beautifully designed\Nand of a piece.
Dialogue: 0,0:10:04.14,0:10:09.68,Default,,0000,0000,0000,,It's really almost impossible to \Noccupy this space without, uh...
Dialogue: 0,0:10:09.68,0:10:11.70,Default,,0000,0000,0000,,basically redefining it.
Dialogue: 0,0:10:12.41,0:10:15.88,Default,,0000,0000,0000,,The piece flickers\Nbetween a three-dimensional experience
Dialogue: 0,0:10:15.88,0:10:17.55,Default,,0000,0000,0000,,and a two-dimensional.
Dialogue: 0,0:10:17.55,0:10:20.92,Default,,0000,0000,0000,,When I was putting this work together,\NI knew that I wanted
Dialogue: 0,0:10:20.95,0:10:25.28,Default,,0000,0000,0000,,disparate motifs\Ncoming together in close quarter.
Dialogue: 0,0:10:26.29,0:10:29.30,Default,,0000,0000,0000,,It's viewable from every angle.
Dialogue: 0,0:10:29.30,0:10:32.20,Default,,0000,0000,0000,,That may seem like, "Oh, every\Nthree-dimensional object is,"
Dialogue: 0,0:10:32.20,0:10:36.24,Default,,0000,0000,0000,,but usually the relationship to the space\Nis somewhat fixed.
Dialogue: 0,0:10:37.04,0:10:38.40,Default,,0000,0000,0000,,And here it is.\NAnd I mean,
Dialogue: 0,0:10:38.40,0:10:42.21,Default,,0000,0000,0000,,as you walk around the grouping of,\Nyou see these images are coming and going.
Dialogue: 0,0:10:42.21,0:10:44.84,Default,,0000,0000,0000,,You're seeing some\Nand others are dropping out.
Dialogue: 0,0:10:44.84,0:10:47.35,Default,,0000,0000,0000,,All of that has to be in a way, composed.
Dialogue: 0,0:10:47.35,0:10:50.45,Default,,0000,0000,0000,,So this is a work\Nthat has a very particular way
Dialogue: 0,0:10:50.45,0:10:55.05,Default,,0000,0000,0000,,of moving the viewer through space\Nand through image space,
Dialogue: 0,0:10:55.05,0:10:58.06,Default,,0000,0000,0000,,which is very different\Nthan architectural space.
Dialogue: 0,0:11:00.09,0:11:01.75,Default,,0000,0000,0000,,"The Cabinet Of"
Dialogue: 0,0:11:02.60,0:11:05.26,Default,,0000,0000,0000,,I don't think I would have thought\Nto do that work there if I hadn't
Dialogue: 0,0:11:05.26,0:11:09.71,Default,,0000,0000,0000,,seen this little room, which is so \Nclaustrophobic, which was a vault.
Dialogue: 0,0:11:11.07,0:11:12.74,Default,,0000,0000,0000,,It's a cabinet inside a cabinet,
Dialogue: 0,0:11:12.74,0:11:15.74,Default,,0000,0000,0000,,and, uh, I love the idea \Nthat it's in the basement
Dialogue: 0,0:11:16.01,0:11:18.64,Default,,0000,0000,0000,,and it's just functioning\Nin a completely different way
Dialogue: 0,0:11:18.64,0:11:20.00,Default,,0000,0000,0000,,than everything else.
Dialogue: 0,0:11:23.65,0:11:26.18,Default,,0000,0000,0000,,The clown image,\Neven though it's a photographic
Dialogue: 0,0:11:26.18,0:11:29.86,Default,,0000,0000,0000,,work, has an architectural component\Nand a psychological component.
Dialogue: 0,0:11:30.28,0:11:34.24,Default,,0000,0000,0000,,You have the reference to something\Nfigurative, but it's also symbolic.
Dialogue: 0,0:11:34.96,0:11:37.50,Default,,0000,0000,0000,,It's using those photographs
Dialogue: 0,0:11:37.50,0:11:39.50,Default,,0000,0000,0000,,in the drawing technique.
Dialogue: 0,0:11:41.20,0:11:43.00,Default,,0000,0000,0000,,I like the idea of taking this
Dialogue: 0,0:11:43.00,0:11:47.88,Default,,0000,0000,0000,,very formal institution\Nand putting a rubber floor in it.
Dialogue: 0,0:11:48.11,0:11:52.50,Default,,0000,0000,0000,,I thought that is probably the right\Nbalance. It would have, you know,
Dialogue: 0,0:11:53.41,0:11:56.25,Default,,0000,0000,0000,,kept things\Nfrom from getting so out of whack
Dialogue: 0,0:11:56.25,0:11:59.71,Default,,0000,0000,0000,,if we'd had that soft rubber floor\Nin a few hundred years ago.
Dialogue: 0,0:12:04.52,0:12:08.24,Default,,0000,0000,0000,,My relationship to my work\Nis extremely verbal.
Dialogue: 0,0:12:08.93,0:12:11.86,Default,,0000,0000,0000,,I am probably more \Nlanguage-based than I am visual,
Dialogue: 0,0:12:11.86,0:12:14.55,Default,,0000,0000,0000,,and I moved through language\Nto arrive at the visual,
Dialogue: 0,0:12:15.97,0:12:19.81,Default,,0000,0000,0000,,although I think of text\Nas visual as well.
Dialogue: 0,0:12:26.41,0:12:27.81,Default,,0000,0000,0000,,I never really distinguish
Dialogue: 0,0:12:27.81,0:12:31.68,Default,,0000,0000,0000,,between symbolic visual language versus
Dialogue: 0,0:12:31.68,0:12:34.53,Default,,0000,0000,0000,,descriptive visual photograph.
Dialogue: 0,0:12:35.45,0:12:38.79,Default,,0000,0000,0000,,I don't think of myself as a photographer\Nor a sculptor.
Dialogue: 0,0:12:38.79,0:12:41.49,Default,,0000,0000,0000,,I just think of myself\Nin a more broad way.
Dialogue: 0,0:12:41.49,0:12:44.82,Default,,0000,0000,0000,,So that allows me\Nto draw upon these different forms...
Dialogue: 0,0:12:45.43,0:12:48.43,Default,,0000,0000,0000,,without having to be identified with them.
Dialogue: 0,0:12:50.24,0:12:54.74,Default,,0000,0000,0000,,You use metaphor to make yourself feel\Nat home in the world.
Dialogue: 0,0:12:54.74,0:12:57.74,Default,,0000,0000,0000,,You use metaphor\Nto extinguish the unknown.
Dialogue: 0,0:12:58.44,0:13:01.91,Default,,0000,0000,0000,,And for me, the problem is the unknown
Dialogue: 0,0:13:01.91,0:13:03.94,Default,,0000,0000,0000,,is where I want to be.
Dialogue: 0,0:13:05.02,0:13:07.20,Default,,0000,0000,0000,,I don't want it extinguished.
Dialogue: 0,0:13:26.07,0:13:26.67,Default,,0000,0000,0000,,To learn more
Dialogue: 0,0:13:26.67,0:13:30.98,Default,,0000,0000,0000,,about Art 21 Art in the 21st century\Nand to download the Free
Dialogue: 0,0:13:30.98,0:13:35.88,Default,,0000,0000,0000,,Educators Guide, please\Nvisit PBS online@pbs.org.
Dialogue: 0,0:13:39.08,0:13:41.35,Default,,0000,0000,0000,,Part 21 Art in the 21st
Dialogue: 0,0:13:41.35,0:13:45.69,Default,,0000,0000,0000,,century is available on video cassette\Nor with additional features on DVD.
Dialogue: 0,0:13:47.76,0:13:50.83,Default,,0000,0000,0000,,In the companion book to the program\Nis also available.
Dialogue: 0,0:13:51.06,0:13:51.73,Default,,0000,0000,0000,,To order.
Dialogue: 0,0:13:51.73,0:13:56.14,Default,,0000,0000,0000,,Call PBS Home Video at one 800 play PBS.