WEBVTT

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[So I just pull it?]

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[A lot?]

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[Can I pull on it a lot?]

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Improvisation is crucial.

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I want the work to be sort of an experience of something live--

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To have this feeling that it was improvised,

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That you can see decisions happening on site,

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The way you see a live sports event,

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The way you hear jazz.

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The spontaneous is always where it's the most interesting,

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for the artist and for the viewer.

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The "Encyclopedia" piece, when it went to France, for example,

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We went to local stores,

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Actually, I didn't even need to go to local stores--

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It was what we were eating,

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What was in the hotel,

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And I added it into the piece.

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You can spend a lot of time conceptualizing and thinking it over

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and then it's usually in the actual making and the process

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where there is something spontaneous that,

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After all that planning,

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You had no idea was going to happen,

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And when that happens is when it's interesting.

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When you experience the piece,

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You think about its making,

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You think about its demise,

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And you feel like when you come to it

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It's actually a moment in time.

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The work looks like a science experiment,

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It looks like you come into someone's studio,

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Or someone's lab,

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And you're seeing the process as it happens,

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And that the outcome is not clear.

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So you'll be in a section where you find little things

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That almost look like jewelry.

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But then when it starts to look too much like jewelry

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I'll switch it over to looking like a shoe store.

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And if it looks too much like a shoe store

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I'll make it look like a morgue.

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At the very core of the work, I'm thinking about

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The edge between life and art,

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And trying to have the viewer

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Move in and out of that all the time.

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So something that's very familiar

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Juxtaposed with something that's very unfamiliar.

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When you see it, you know that

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There was a kind of tinkering that was discovered,

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That that's something we'd been fooling around with

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A lot of things to come to that.

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The viewer actually, I think, experiences

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That kind of discovery that I actually have.