0:00:30.367,0:00:31.785
[So I just pull it?]

0:00:39.550,0:00:40.767
[A lot?]

0:00:41.084,0:00:42.851
[Can I pull on it a lot?]

0:00:47.964,0:00:49.747
Improvisation is crucial.

0:00:50.664,0:00:55.580
I want the work to be sort of an experience of something live--

0:00:56.080,0:00:58.231
To have this feeling that it was improvised,

0:00:58.231,0:01:01.481
That you can see decisions happening on site,

0:01:01.481,0:01:04.780
The way you see a live sports event,

0:01:04.780,0:01:07.597
The way you hear jazz.

0:01:35.097,0:01:37.864
The spontaneous is always where it's the most interesting,

0:01:37.864,0:01:40.630
for the artist and for the viewer.

0:01:40.747,0:01:43.881
The "Encyclopedia" piece, when it went to France, for example,

0:01:43.881,0:01:46.314
We went to local stores,

0:01:46.314,0:01:47.930
Actually, I didn't even need to go to local stores--

0:01:47.930,0:01:49.797
It was what we were eating,

0:01:49.797,0:01:51.097
What was in the hotel,

0:01:51.097,0:01:53.497
And I added it into the piece.

0:01:58.030,0:02:01.880
You can spend a lot of time conceptualizing and thinking it over

0:02:01.880,0:02:04.914
and then it's usually in the actual making and the process

0:02:04.914,0:02:07.880
where there is something spontaneous that,

0:02:07.880,0:02:09.315
After all that planning,

0:02:09.315,0:02:11.564
You had no idea was going to happen,

0:02:11.564,0:02:14.597
And when that happens is when it's interesting.

0:02:25.248,0:02:27.080
When you experience the piece,

0:02:27.080,0:02:28.780
You think about its making,

0:02:28.780,0:02:30.680
You think about its demise,

0:02:30.680,0:02:32.363
And you feel like when you come to it

0:02:32.363,0:02:35.014
It's actually a moment in time.

0:02:42.830,0:02:45.030
The work looks like a science experiment,

0:02:45.030,0:02:48.280
It looks like you come into someone's studio,

0:02:48.280,0:02:49.498
Or someone's lab,

0:02:49.498,0:02:52.114
And you're seeing the process as it happens,

0:02:52.114,0:02:55.298
And that the outcome is not clear.

0:02:55.765,0:02:58.219
So you'll be in a section where you find little things

0:02:58.219,0:02:59.719
That almost look like jewelry.

0:02:59.719,0:03:01.486
But then when it starts to look too much like jewelry

0:03:01.486,0:03:03.586
I'll switch it over to looking like a shoe store.

0:03:03.586,0:03:05.253
And if it looks too much like a shoe store

0:03:05.253,0:03:08.037
I'll make it look like a morgue.

0:03:08.302,0:03:11.370
At the very core of the work, I'm thinking about

0:03:11.453,0:03:14.570
The edge between life and art,

0:03:14.570,0:03:17.019
And trying to have the viewer

0:03:17.019,0:03:19.436
Move in and out of that all the time.

0:03:19.436,0:03:21.935
So something that's very familiar

0:03:21.935,0:03:25.236
Juxtaposed with something that's very unfamiliar.

0:03:39.669,0:03:41.285
When you see it, you know that

0:03:41.285,0:03:44.019
There was a kind of tinkering that was discovered,

0:03:44.019,0:03:46.369
That that's something we'd been fooling around with

0:03:46.369,0:03:49.486
A lot of things to come to that.

0:03:49.869,0:03:52.219
The viewer actually, I think, experiences

0:03:52.219,0:03:55.986
That kind of discovery that I actually have.