0:00:17.750,0:00:18.800
<v ->I've always felt that there's</v>

0:00:18.800,0:00:20.960
this very strong connection for me,

0:00:20.960,0:00:25.000
between the thread of sewing [br]and the line of that thread

0:00:25.000,0:00:26.437
and the thread of writing.

0:00:28.464,0:00:33.678
(charcoal scraping across canvas)

0:00:33.678,0:00:35.480
(sewing machine)

0:00:35.480,0:00:38.480
I certainly grew up doing a [br]lot of hand work, needle work,

0:00:38.480,0:00:41.280
sewing, knitting, embroidery,

0:00:41.280,0:00:44.113
all of those traditional textile arts.

0:00:48.240,0:00:50.160
I think the process is just really satisfying,

0:00:50.160,0:00:52.240
but the metaphors that cloth offer up

0:00:52.240,0:00:54.680
are really extraordinarily beautiful

0:00:54.680,0:00:58.680
because every piece of cloth that we wear

0:00:58.680,0:01:01.440
is made up of all these individual threads,

0:01:01.440,0:01:03.000
whatever their weave,

0:01:03.000,0:01:05.600
and that each one of those is still something

0:01:05.600,0:01:06.601
that you can see,

0:01:08.200,0:01:11.880
and the whole cloth needs each one of those.

0:01:11.880,0:01:13.400
And so it's a social metaphor to me.

0:01:13.400,0:01:14.661
It's actually very beautiful.

0:01:28.320,0:01:31.320
The very first piece I did [br]when I was in graduate school,

0:01:31.320,0:01:35.600
I had taken a, just kind of generic gray man suit,

0:01:35.600,0:01:39.720
and covered it in toothpicks [br]so that the whole skin of cloth

0:01:39.720,0:01:42.980
became like a hide. It looked like a porcupine.

0:01:43.294,0:01:51.106
(ethereal music)

0:01:51.106,0:01:57.320
<v ->(whispering) Find the [br]linear broken below a human.

0:01:57.320,0:01:58.200
I know for me,

0:01:58.200,0:02:02.400
that relationship between the [br]thread and the written line

0:02:02.400,0:02:03.880
and the drawn line,

0:02:03.880,0:02:07.720
it's about a really very fundamental act of making

0:02:07.720,0:02:11.357
(indistinct whispering)

0:02:11.357,0:02:15.120
that the relationship of the [br]line that makes something

0:02:15.120,0:02:17.949
is related to how we make things with language.

0:02:18.185,0:02:20.460
<v ->(whispering) Certainty.</v>

0:02:26.421,0:02:28.961
<v ->I think that I'm always trying to work</v>

0:02:28.961,0:02:31.840
with words as materials,

0:02:31.840,0:02:34.210
the same way I work with other kinds of materials.

0:02:41.040,0:02:43.240
The project "Lineament," which is a title

0:02:43.240,0:02:45.299
that comes from a Wallace Stevens poem.

0:02:46.240,0:02:49.400
That flat two-dimensional plane of the page

0:02:49.400,0:02:51.480
is made into a three-dimensional body

0:02:51.480,0:02:53.360
because each line is lifted

0:02:53.360,0:02:55.277
out of the book as if it is a thread.

0:02:55.880,0:02:59.840
And that thread of text is run through the hands,

0:03:00.560,0:03:06.480
it's tactile, it's touched, [br]and then it creates a ball,

0:03:06.480,0:03:09.440
which is the body of the page.

0:03:10.960,0:03:13.320
So. there are all these places I see

0:03:13.320,0:03:17.760
that there's this constant tie of thread as line

0:03:17.760,0:03:20.667
and line as line of writing.

0:03:21.560,0:03:23.558
Yeah. Now go down that way. Right.

0:03:25.874,0:03:28.316
(crinkling plastic)

0:03:30.560,0:03:32.800
I'm just gonna set up the [br]pipes and then we'll bring the

0:03:32.800,0:03:33.556
fabric over.

0:03:35.631,0:03:37.360
Seven, eight, nine

0:03:37.360,0:03:39.200
For me, working in installation

0:03:39.200,0:03:43.211
is to work in relation to a particular place.

0:03:44.234,0:03:46.120
You're coming in and you're, in some senses,

0:03:46.720,0:03:48.324
animating the space

0:03:50.520,0:03:54.360
and you don't know what that space or situation

0:03:54.360,0:03:56.480
will do to you and vice versa,

0:03:56.480,0:03:58.399
what you will do to it. (laughs)

0:04:00.040,0:04:01.800
Like, you try to make yourself blank

0:04:01.800,0:04:05.240
so that you can just pay [br]attention to what comes up,

0:04:05.240,0:04:06.280
what it makes you think of...

0:04:06.280,0:04:07.520
What are the things you feel?

0:04:07.520,0:04:10.600
All of those ways that your skin is a organ

0:04:10.600,0:04:12.480
and is a membrane is incredibly smart,

0:04:12.480,0:04:15.280
and immediately you walk through any threshold

0:04:15.280,0:04:17.720
and, you know, it's... you smell.

0:04:17.720,0:04:19.960
And you feel the temperature and the light

0:04:19.960,0:04:24.331
and all of those things that [br]have an enormous influence.

0:04:25.000,0:04:28.780
(birds chirping)

0:04:29.638,0:04:31.654
<v ->This particular building,</v>

0:04:31.654,0:04:34.520
it's had 1200 people working here at one time.

0:04:34.520,0:04:37.800
it's in an area that was sort [br]of like a company town area,

0:04:37.800,0:04:39.520
and it's been forgotten.

0:04:39.520,0:04:43.452
And it just went out of [br]business about three months ago.

0:04:49.727,0:04:52.760
<v ->(whispering) So, it's...</v>[br]I didn't ever actually visit this building

0:04:52.760,0:04:55.200
when it was in operation,

0:04:55.200,0:05:00.720
but as a textile factory and house of production,

0:05:00.720,0:05:03.667
that was now silenced.

0:05:04.560,0:05:06.920
You know, the hollowness of that,

0:05:06.920,0:05:10.398
the emptiness of that was very palpable.

0:05:13.680,0:05:17.020
I'm all thumbs today with these strings.

0:05:17.020,0:05:19.394
(indistinct)[br]Can you grab this string?

0:05:20.915,0:05:26.000
<v ->I wanted to have one room [br]be the room of the writer

0:05:26.000,0:05:28.240
and one room be the room of the reader.

0:05:28.240,0:05:31.240
And now they've become ghost-like suspensions

0:05:31.240,0:05:34.680
of silk organza that sit side by side.

0:05:34.680,0:05:37.000
So, they're identical in form.

0:05:37.000,0:05:39.560
They're about 30 foot square rooms

0:05:39.560,0:05:42.997
that are just suspended within the architecture.

0:05:45.000,0:05:48.251
(metal clanging)[br]Yeah.

0:05:50.979,0:05:52.800
<v ->Hey Emmitt, can you carry this over there</v>

0:05:52.800,0:05:54.249
with the other pipes?

0:05:54.249,0:05:56.057
<v Offscreen Male>Honey, he can do it.</v>[br]Don't, don't worry about it.

0:05:56.057,0:05:56.677
<v Emmitt>Yeah.</v>

0:05:56.677,0:05:58.440
<v Ann>There you go. And then [br]within each of those rooms,

0:05:58.440,0:06:02.240
there's a long 10 foot wooden table,

0:06:02.240,0:06:05.188
and upon that will be a spinning projector.

0:06:05.188,0:06:11.186
(metal clanging)

0:06:11.186,0:06:12.320
<v ->With what Anne's doing.</v>

0:06:12.320,0:06:14.360
Remember, she's not a traditional artist

0:06:14.360,0:06:15.880
in the sense that it's a piece of painting

0:06:15.880,0:06:17.480
or it's a piece of sculpture.

0:06:17.480,0:06:19.440
This is something that people [br]really have to reach for

0:06:19.440,0:06:22.701
and break out of what they expect to see.

0:06:23.800,0:06:25.240
And it's saying really to the people

0:06:25.240,0:06:26.360
that there's more here

0:06:26.360,0:06:27.760
than we even saw.

0:06:27.760,0:06:29.560
And there's someone else that's seeing that.

0:06:30.760,0:06:33.016
Here, Emmitt, you can help [br]pull the projector. Okay?

0:06:36.334,0:06:39.160
<v ->So right now, this is [br]actually the section

0:06:39.160,0:06:41.499
that's going backwards in the video.

0:06:42.440,0:06:46.310
So it's the pencils, like, eating the line.

0:06:46.310,0:06:54.480
(whooshing)

0:06:54.480,0:06:57.640
Part of making work is to allow those things,

0:06:57.640,0:07:00.268
perhaps that are always already there,

0:07:00.440,0:07:02.200
but not visible to us

0:07:02.200,0:07:04.120
and to try to make them visible

0:07:04.120,0:07:06.134
in a way that they're experience-able.

0:07:09.701,0:07:14.301
(whooshing)

0:07:15.012,0:07:19.867
(crickets)

0:07:26.521,0:07:28.176
(bells clanging)

0:07:28.176,0:07:31.008
(indistinct whispering)

0:07:31.008,0:07:33.853
(birds chirping)

0:07:35.120,0:07:39.800
This Jeffersonian neoclassical building we inherit

0:07:39.800,0:07:44.409
as a real emblem of an American democratic ideal.

0:07:45.334,0:07:47.861
(women speaking in phonetic code)

0:07:48.367,0:07:51.856
And so, I wanted to engage that in the building.

0:07:54.800,0:07:57.304
How do we deal with the stains of our own history?

0:07:58.800,0:08:03.440
How do we take those aspects [br]of our social history,

0:08:03.440,0:08:05.280
slavery being the largest one.

0:08:05.280,0:08:07.680
That we have a democratic country that was founded

0:08:07.680,0:08:14.040
and based in slavery, and [br]how do you talk about that?

0:08:14.040,0:08:15.640
I felt like the only way to do it, perhaps,

0:08:15.640,0:08:17.011
was very abstractly.

0:08:22.320,0:08:25.800
This stream of intensely chromed fusca powder

0:08:25.800,0:08:27.160
sifted down the walls.

0:08:27.160,0:08:31.040
And it would catch on raise plaster dots

0:08:31.040,0:08:34.885
that were fixed to the wall, [br]spelling out a text in braille.

0:08:35.440,0:08:38.280
And that text was edited from the poems

0:08:38.280,0:08:39.553
by Charles Resnikoff.

0:08:43.680,0:08:46.160
From the corner of each of the four rooms,

0:08:46.160,0:08:48.000
there was a soundtrack

0:08:48.000,0:08:50.400
of Lincoln's second inaugural address,

0:08:50.400,0:08:52.171
which was really one of healing.

0:08:53.160,0:08:55.920
It was translated letter by letter

0:08:55.920,0:08:58.475
into the phonetic alphabet.

0:09:06.960,0:09:14.019
(Women whispering phonetic code)

0:09:14.019,0:09:20.357
(birds chirping)

0:09:22.240,0:09:23.947
(door opening)[br](door closing)

0:09:26.432,0:09:27.767
Come on, Timmy. Let's go.

0:09:27.767,0:09:29.357
(dog leash clanking)

0:09:29.743,0:09:33.120
<v ->I live in Ohio and I [br]moved back after teaching

0:09:33.120,0:09:35.692
for about seven years in Santa Barbara.

0:09:36.440,0:09:39.400
It is a very conscious decision to wanna move

0:09:39.400,0:09:41.920
and be closer to my family who live here.

0:09:41.920,0:09:43.182
This is where I grew up.

0:09:44.099,0:09:45.680
(geese calling)

0:09:46.440,0:09:50.000
it's a, kind of, a real comfort to come home

0:09:50.000,0:09:51.480
and to work out of that place.

0:09:51.480,0:09:55.800
And for a long time, my parents also really helped

0:09:55.800,0:09:56.960
with a lot of my work.

0:09:56.960,0:09:59.920
You know, my mother would sometimes fly out

0:09:59.920,0:10:01.756
to work on a big project

0:10:01.756,0:10:03.600
and my dad has helped on projects.

0:10:03.600,0:10:07.000
And now increasingly they're...

0:10:07.000,0:10:09.520
They provide me with that kind of backup

0:10:09.520,0:10:11.200
that actually allows me

0:10:11.200,0:10:15.101
to do the kind of traveling [br]that my work has needed.

0:10:16.200,0:10:17.840
I think that would be much harder for me

0:10:17.840,0:10:19.126
if I didn't have all that.

0:10:20.888,0:10:22.745
Do you wanna help change the film?

0:10:24.869,0:10:28.720
<v ->You can't be a mom and have [br]a child in kindergarten,

0:10:28.720,0:10:31.560
and not have some other help.

0:10:31.560,0:10:34.021
Hey Emmitt, do you wanna come see your picture?

0:10:35.000,0:10:37.000
(mouse clicking)

0:10:39.584,0:10:41.520
There's an aspect of my work,

0:10:41.520,0:10:43.400
which is wanting to give voice,

0:10:43.400,0:10:47.040
but my voice is not necessarily [br]the voice that's here.

0:10:47.040,0:10:49.520
I feel like my voice is maybe here and here.

0:10:49.520,0:10:55.120
And so, how do I literally [br]make the place where song also,

0:10:55.120,0:10:57.680
as well as all other words, exits the body

0:10:57.680,0:10:59.878
actually become my eye.

0:11:03.200,0:11:06.551
I devised a way of making pinhole cameras.

0:11:08.120,0:11:12.680
I put the camera in my mouth [br]and then I unblock the aperture

0:11:12.680,0:11:16.084
so that when I reopen my lips,

0:11:16.760,0:11:18.380
I'm actually exposing the film.

0:11:32.239,0:11:33.239
(footsteps)

0:11:34.373,0:11:35.120
You know,

0:11:35.120,0:11:37.760
you're never supposed to have [br]your mouth open in public.

0:11:37.760,0:11:40.441
This is like, you don't see [br]people standing, you know,

0:11:40.441,0:11:42.440
(laughs)[br]It's a vulnerable position.

0:11:42.440,0:11:45.000
It's a place where you've relaxed

0:11:45.000,0:11:47.635
and you've let yourself be open and vulnerable.

0:11:49.444,0:11:53.347
(laughs)[br]Sorry.

0:11:54.000,0:11:54.655
You ready?

0:11:54.655,0:11:55.255
<v ->Um-hm.</v>

0:11:55.255,0:11:56.242
<v ->Um.</v>

0:12:00.320,0:12:02.920
<v ->It became very interesting</v>

0:12:02.920,0:12:06.720
to register this time of standing quite still,

0:12:06.720,0:12:09.520
face to face with another person,

0:12:09.520,0:12:11.360
like soul to soul,

0:12:11.360,0:12:14.640
and revealing something that's not, you know,

0:12:14.640,0:12:19.561
the surface stuff that we [br]usually allow out to the world.

0:12:22.360,0:12:25.160
The shape of the mouth is very much

0:12:25.160,0:12:27.480
the same shape as the eye.

0:12:27.480,0:12:30.816
And the image becomes almost like the pupil.

0:12:39.733,0:12:40.581
(bell ringing)[br](dog barking)

0:12:44.046,0:12:44.546
Good.

0:12:46.233,0:12:48.280
So to...and sometimes invert the location

0:12:48.280,0:12:50.680
of one sense to another part of the body.

0:12:50.680,0:12:56.680
Those kind of dislocations or slippages is one way

0:12:56.680,0:12:59.120
that we come to see something differently.

0:12:59.120,0:13:00.539
(motor running)

0:13:00.539,0:13:01.760
<v Female Voice>Looks like there's fire coming</v>

0:13:01.760,0:13:02.940
off of your hand.

0:13:03.423,0:13:04.960
<v Ann>Wow, look it.</v>

0:13:04.960,0:13:08.180
Look, oh, totally magic.

0:13:09.604,0:13:11.117
<v Maarten>It's a flat sheet of water</v>

0:13:11.600,0:13:13.040
with soap on either side.

0:13:13.040,0:13:15.920
And it's about a 50th of the [br]thickness of a human hair.

0:13:15.920,0:13:18.760
And when things get that thin, [br]like oil slicks on water,

0:13:18.760,0:13:21.920
they tend to reflect certain [br]colors of light depending on

0:13:21.920,0:13:22.892
their thickness.

0:13:23.737,0:13:24.720
I just thought it would be interesting

0:13:24.720,0:13:28.000
to try to see if Ann would [br]be able to incorporate this

0:13:28.000,0:13:29.120
in any of her work.

0:13:31.640,0:13:33.066
...Which is part of the problem.

0:13:33.066,0:13:36.120
<v ->You know, Martin sort of [br]said, "I'm doing this thing,"

0:13:36.120,0:13:39.160
and I...and then he demonstrated it.

0:13:39.160,0:13:42.120
It's like, I, I don't know [br]necessarily how or when,

0:13:42.120,0:13:43.560
or what I would use this,

0:13:43.560,0:13:46.520
but it's becoming increasingly clear to me

0:13:46.520,0:13:50.640
that it's related to everything I've ever done.

0:13:50.640,0:13:54.760
You know, it's the fluidity of the cloth.

0:13:54.760,0:13:57.360
It's the way that you can take your hands

0:13:57.360,0:13:59.579
and you can go through the membrane of it.

0:14:01.920,0:14:04.800
Oh, I love this bubble coming out like this

0:14:04.800,0:14:09.040
and the breath being made [br]palpably, visually present.

0:14:09.040,0:14:11.091
It's beautiful. It's beautiful.

0:14:13.360,0:14:15.840
<v ->And I know when I'm making [br]work that I have to...

0:14:15.840,0:14:17.600
Like, there's a point where I can't see it.

0:14:17.600,0:14:20.457
I can't see it in my head. And then, you know,

0:14:21.640,0:14:23.720
there's that moment where you can see it

0:14:23.720,0:14:25.800
and you think it might be beautiful.

0:14:26.960,0:14:28.760
It's like it bites you, you know,

0:14:28.760,0:14:33.880
and then you will go to all [br]ends sometimes to try to see it

0:14:33.880,0:14:35.120
(laughs) in fact.

0:14:35.120,0:14:37.176
And of course it's always [br]different or something else but...

0:14:37.866,0:14:43.818
(ethereal music)