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(tranquil music)

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(traffic noises)

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(gentle music)

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- This is one of the most[br]radical architectures built.

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Over 70% of this building is a void.

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It's the air, it's the[br]light, it's the tilt.

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It's all of these things

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that really create an[br]entirely new inner world

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when you enter this museum.

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You see how people behave differently.

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They move differently.

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Your whole sense of[br]time and space changes.

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How do you make a piece that[br]helps me, helps the viewer,

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helps the building understand itself anew?

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(tranquil music)

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(scratching sounds)

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(lively music)

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(lively music)

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(lively music)

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(lively music)

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When you come up here,

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you start to see this thing[br]called the River of Images.

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The River of Images[br]goes around in one loop.

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Moving images seem

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like they're just bleeding[br]into architecture.

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The bay is this image maker.

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It's making images through these shadows,

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the shadows of the sculpture, my shadow,

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and two images moving together.

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So it's like a live film[br]and this is total chance.

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This will happen once every month.

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The reels are in different[br]speeds, so the moving images,

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they collide at different times,

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and then as you come around[br]and you see this sculpture,

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if you go to the top of the sculpture,

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it really draws attention to[br]this incredible oculus ceiling.

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This is an important idea that[br]people would go in the bay

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and look out, 'cause you[br]never stand where the art is.

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You can imagine,

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what's it like to be a[br]painting hung in this space?

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That's what you see.

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(pensive music)

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(voices murmuring)[br](beeping sounds)

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(clock ticking)

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I use very mundane[br]materials to really push

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at that question

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of how you imbue value[br]in inanimate objects.

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(pensive music)

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People are very careful around the work.

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There's a sense that any[br]wind could just topple it.

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That's really the cusp that[br]I'm interested in meeting

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where things are right at[br]the point of coming together

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but really at this fragile point

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where you could imagine them[br]falling apart at any time.

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(pensive music)

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Looking at it, you can[br]try and trace a history

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of how it's made.

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It's all there for you.

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You can see the clamps,[br]you can see the props.

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(pensive music)

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(rustling sounds)

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(tearing sounds)

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(rustling sounds)

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(clanging sounds)[br](rustling sounds)

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(tranquil music)

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Every artwork is a timekeeper.

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It's a time capsule of[br]what it means to be alive.

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To go see an ancient artwork

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and realize this was[br]touched by human beings,

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this was seen by centuries of people,

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and I am now having a conversation

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with all of those human[br]beings through an object.

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(tranquil music)

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Anything in this museum is here

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because hundreds of people

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have shepherded that work through.

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The artist is just one piece of that.

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I'm really grateful for[br]the people I work with.

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When I was young, I look[br]at my painter friends

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and I would say they[br]spend the whole day alone.

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(Sarah chuckling)

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Now that I have children, and I teach,

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and I have older parents,[br]being alone in a room

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with a painting is an incredible pleasure.

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(pensive music)

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(faint background noises)

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(tranquil music)

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For this show,

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I wanted to only have paintings[br]bigger than your body.

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The paintings became portals[br]to interior landscapes.

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They tell us about how[br]we see inside our heads,

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how memories are collected,

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how they're lost, how they're[br]misinterpreted, reinterpreted.

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There's a longing for interior images

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because there's so many exterior images

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that that balance has changed.

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Like in my generation,[br]if you asked me like,

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what did you look like as a child?

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There's like four pictures[br]that my parents framed

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and they put on the wall,

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and that's what I think I looked like.

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You know, with my children,[br]there's, you know, a day,

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there's 70 pictures.

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We have a really different[br]sense of the image.

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(tranquil music)

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During the pandemic, it was[br]very hard to measure time.

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For most of us, our[br]serendipitous interaction

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with people was cut down dramatically.

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Those moments have emotional intensity.

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What you were wearing,[br]what it smelled like,

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what it sounded like,

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all of those things helped us mark time.

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Art can show you how time[br]is marked through emotion

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like no other medium.

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Because that's how we as[br]human beings measure time.

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I think when I'm on my deathbed,

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I will think emotionally[br]about the timeline of my life

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and art is a thing that gives[br]us this way of seeing that.

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(tranquil music)

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(tranquil music)

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(tranquil music)

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(tranquil music fading)