0:00:05.000,0:00:08.360 [Sarah Sze: How We See the World] 0:00:08.370,0:00:11.390 I'm really interested in this, kind of, pendulum swing. 0:00:13.460,0:00:15.980 This kind of desire to be able to feel and touch 0:00:15.980,0:00:17.860 and smell materials. 0:00:18.780,0:00:20.740 And then the other end of the pendulum being 0:00:21.340,0:00:24.000 the reality that we have a distance from materials 0:00:24.000,0:00:26.220 because we have so much time with images. 0:00:31.760,0:00:33.320 That time with images, I think, 0:00:33.320,0:00:36.570 is very different than any other time with images 0:00:36.570,0:00:38.120 that I've known in my lifetime. 0:00:38.120,0:00:41.800 And I think it's changing radically with each generation. 0:00:43.440,0:00:46.400 You know, you don't know the authorship of[br]an image when it gets to you. 0:00:46.400,0:00:47.580 You can manipulate it 0:00:47.589,0:00:48.509 and you can send it. 0:00:49.140,0:00:51.480 It's a kind of images-as-debris. 0:00:52.660,0:00:55.340 We've learned to read images very quickly. 0:01:00.600,0:01:03.329 So all of the images that are in the gallery show 0:01:03.329,0:01:06.790 have to do with images that make you feel 0:01:06.790,0:01:09.290 as if they could be anywhere at any time. 0:01:12.700,0:01:15.120 Images of landscape 0:01:15.710,0:01:18.970 shoot you into, kind of, a vast time and space. 0:01:19.500,0:01:21.520 It changes your sense of time-- 0:01:21.520,0:01:22.960 in the seeing. 0:01:25.980,0:01:28.320 This room, to me, is really about the intersection 0:01:28.330,0:01:30.210 of painting and sculpture. 0:01:30.900,0:01:34.560 I wanted to, sort of, pull out everything that was 0:01:34.570,0:01:37.270 nameable in my work 0:01:37.270,0:01:40.100 and have people look at fragments 0:01:40.100,0:01:43.610 of both paint and images coming together-- 0:01:43.610,0:01:44.870 filtering together-- 0:01:45.570,0:01:47.390 and then falling apart. 0:01:51.920,0:01:53.320 When you come in, 0:01:53.320,0:01:55.000 you start to see things as holes. 0:01:55.000,0:01:56.640 All of the edges of the work sort of 0:01:56.640,0:01:58.780 line up in very different angles. 0:02:01.040,0:02:02.700 You actually see the room sort of 0:02:02.700,0:02:04.520 almost come together 0:02:04.520,0:02:06.520 in terms of these kind of floating frames. 0:02:09.180,0:02:12.540 So you have this experience in time and space 0:02:12.550,0:02:15.470 of not knowing when a work begins-- 0:02:15.470,0:02:16.870 when a work ends. 0:02:17.800,0:02:19.480 This is how we see the world. 0:02:20.240,0:02:22.220 We don't see things in white boxes. 0:02:30.310,0:02:33.430 How do we just talk about the luxuriousness[br]of the material-- 0:02:33.430,0:02:35.650 not material representing something else. 0:02:37.489,0:02:39.790 How does paint behave in space? 0:02:39.790,0:02:41.489 How does it feel? How does it dry? 0:02:41.489,0:02:42.589 How does it adhere? 0:02:46.340,0:02:48.280 When you see paper as a pile, 0:02:48.560,0:02:51.020 you sort of question what's happened to an image. 0:02:51.560,0:02:54.139 That's a place where the materiality in the sculpture 0:02:54.139,0:02:56.799 and the image, I think, actually, 0:02:57.320,0:02:58.360 they meet. 0:03:02.240,0:03:03.260 That kind of behavior-- 0:03:03.260,0:03:05.209 that kind of tactility-- 0:03:05.209,0:03:07.540 the volume on its value, I think, 0:03:07.540,0:03:08.720 is turned up. 0:03:10.060,0:03:12.040 Because we have so much illusion, 0:03:12.040,0:03:14.129 but we don't have touch 0:03:14.129,0:03:15.650 and we don't have taste, and we don't have smell. 0:03:15.650,0:03:18.189 We don't have that intimacy with images.