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저는 바느질을 하는데 쓰는 실과

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그 실의 선,

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그리고 글자의 실 사이에 아주 강한 관계가 있다는 사실을

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언제나 느낍니다.

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(숯이 캔버스를 긁는 소리)

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(재봉틀 소리)

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저는 손으로 하는 일을 많이 하면서 자랐습니다. 바느질을 하고

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뜨개질을 하고 자수를 놓았어요.

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이들은 모두 전통적인 직물 예술의 일종이라 할 수 있지요.

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저는 저의 작업 과정이 아주 만족스럽다고 생각합니다.

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그리고 그 과정에서 직물이 주는 은유는

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정말 뛰어날 정도로 아름답습니다.

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왜냐하면 우리가 몸에 걸치는 직물의 모든 조각이

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개별적인 실로 이루어지기 때문입니다.

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어떤 방식으로 그들이 찌여졌는지와 상관없이

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각각의 실은 여전히

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눈에 보이고

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전체 천은 각각의 실들로 이루어져 있어요.

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그래서 이것이 저에게는 사회적인 은유가 됩니다.

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아주 아름다운 은유요.

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제가 대학원생일 때 저의 첫 번째 작품은

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회색의 남성 정장을 사용해서 만들어졌습니다.

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정장을 이쑤시개로 덮어서 옷이 마치

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동물의 가죽처럼 보였어요. 고슴도치 같았죠.

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(신비로운 음악)

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(속삭이는 소리) 사람의 발 아래에 부서져 있는 그 선을 찾으세요.

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저는

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실과 글자의 선, 그리고 그림의 선 사이의 관계가

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아주 근본적인

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창착 활동과 관련이 있다고 생각합니다.

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(잘 들리지 않는 속삭임)

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그리고 무언가를 만들어내는 선의 관계는

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우리가 언어를 통해 무언가를 만들어내는 방식과 연결되어 있어요,

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(속삭이는 소리) "확신"

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저는 재료로서 단어를 사용해서

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작업을 하려고 언제나 애씁니다.

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마찬가지로 다른 종류의 재료를 사용해서 일을 합니다.

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"Lineament"라는 프로젝트는,

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월러스 스티븐스의 시에서 영감을 받아 지은 제목입니다.

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납작한 2차원적 평면이

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3차원적인 물체가 되는데,

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그 선이 마치 실인 것처럼 각 선이

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책에서 튀어나오기 때문입니다.

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텍스트 가닥이 손을 거쳐 지나가면서

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만질 수 있는 것이 되고, 공 모양을 만들어 냅니다.

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이것이 페이지의 몸체가 됩니다.

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이렇게 보면

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선으로서 실과 글쓰기의 선으로서 직선의

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연관성이 끊임없이 이어진다고 생각합니다.

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네, 이제 저쪽으로 내려가세요. 맞아요.

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(비닐 소리)

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저는 파이프를 세우고 그 위에

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직물을 입히려고 했습니다.

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일곱, 여덟, 아홉

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저에게 설치 예술은

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특정한 장소와 관련이 있는 작업입니다.

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공간으로 들어갈 때 삶을 그것을 가져다주는 것이 됩니다.

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그리고 공간 또는 상황이 무엇을 우리에게 하는지,

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우리가 공간 또는 상황에 어떤 영향을 끼치는지는

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알 수 없습니다. (웃음)

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저는 공간을 비어있을 수 있도록 내버려둘 수 있고

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그래서 다음에 무엇이 나올지 집중할 수 있습니다.

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무엇이 생각을 만들어내는지에 대해서도요.

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관객들은 이들로부터 어떤 감정을 느끼는 걸까요?

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ㅇㅇ

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