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