[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:28.72,0:00:29.96,Default,,0000,0000,0000,,PAUL PFEIFFER:\NI’ve always had an interest
Dialogue: 0,0:00:30.64,0:00:33.68,Default,,0000,0000,0000,,in domestic interiors that also
Dialogue: 0,0:00:33.68,0:00:38.45,Default,,0000,0000,0000,,are scenes of horror or of the uncanny.
Dialogue: 0,0:00:41.30,0:00:44.44,Default,,0000,0000,0000,,One of the most compelling \Nimages when I was a teenager
Dialogue: 0,0:00:44.44,0:00:46.34,Default,,0000,0000,0000,,was the movie The Amityville Horror.
Dialogue: 0,0:00:50.36,0:00:53.51,Default,,0000,0000,0000,,In that movie, the stairway \Nplays a very important role.
Dialogue: 0,0:00:54.48,0:01:00.52,Default,,0000,0000,0000,,It’s the central corridor along \Nwhich a meeting of gazes occurs
Dialogue: 0,0:01:00.52,0:01:07.33,Default,,0000,0000,0000,,between the human inhabitants, the family, \Nand this nonhuman inhabitant, the Devil.
Dialogue: 0,0:01:10.12,0:01:14.55,Default,,0000,0000,0000,,That’s what led me to the idea of recreating \Nthe central stairway in the house.
Dialogue: 0,0:01:18.20,0:01:21.02,Default,,0000,0000,0000,,So in the final piece, you really have two images—
Dialogue: 0,0:01:21.93,0:01:25.04,Default,,0000,0000,0000,,the large projection looking \Nfrom the top of the stairs
Dialogue: 0,0:01:25.04,0:01:30.83,Default,,0000,0000,0000,,down into the entrance coming through \Na live feed from inside the diorama.
Dialogue: 0,0:01:33.55,0:01:35.44,Default,,0000,0000,0000,,And as you move close to the wall,
Dialogue: 0,0:01:35.44,0:01:38.75,Default,,0000,0000,0000,,you find a little hole with \Nlight coming out of it.
Dialogue: 0,0:01:39.68,0:01:43.02,Default,,0000,0000,0000,,And looking through the hole, \Nyou see the diorama itself.
Dialogue: 0,0:01:45.20,0:01:47.92,Default,,0000,0000,0000,,You find yourself looking \Nin the opposite direction
Dialogue: 0,0:01:47.92,0:01:51.74,Default,,0000,0000,0000,,from the bottom of the stairs \Nupward towards the second floor.
Dialogue: 0,0:01:58.20,0:01:59.84,Default,,0000,0000,0000,,Making images and objects,
Dialogue: 0,0:02:00.48,0:02:03.92,Default,,0000,0000,0000,,you can’t help but think about what it is
Dialogue: 0,0:02:03.92,0:02:07.64,Default,,0000,0000,0000,,you’re actually doing beyond merely fabrication.
Dialogue: 0,0:02:09.76,0:02:14.38,Default,,0000,0000,0000,,In a way, you’re really setting up relationships \Nbetween objects and images and people.
Dialogue: 0,0:02:18.40,0:02:23.36,Default,,0000,0000,0000,,I think of “Dutch Interior” as an \Nexploration of this kind of most basic
Dialogue: 0,0:02:23.36,0:02:29.39,Default,,0000,0000,0000,,and fundamental of relationships, \Nbetween oneself and another.
Dialogue: 0,0:02:39.76,0:02:43.57,Default,,0000,0000,0000,,There’s something really seductive \Nabout pre-digested images.
Dialogue: 0,0:02:45.07,0:02:50.26,Default,,0000,0000,0000,,You’re served literally 500 \Nchannels on TV, like why go out?
Dialogue: 0,0:02:52.36,0:02:59.04,Default,,0000,0000,0000,,There’s a huge infrastructure that undergirds \Nevery individual image we see on TV,
Dialogue: 0,0:02:59.04,0:03:02.48,Default,,0000,0000,0000,,and for me it’s very hard to \Ndissociate the single, you know,
Dialogue: 0,0:03:02.48,0:03:04.37,Default,,0000,0000,0000,,image from that entire network.
Dialogue: 0,0:03:06.96,0:03:11.68,Default,,0000,0000,0000,,So the question always comes up, who’s using who?
Dialogue: 0,0:03:11.68,0:03:14.82,Default,,0000,0000,0000,,Is the image making us or do we make images?
Dialogue: 0,0:03:22.32,0:03:26.16,Default,,0000,0000,0000,,I'm really attracted to \Nimages of amazing spectacle.
Dialogue: 0,0:03:26.16,0:03:28.88,Default,,0000,0000,0000,,That's one of the things that \Nbrings me to the sports scene.
Dialogue: 0,0:03:34.16,0:03:37.82,Default,,0000,0000,0000,,Especially big events involving mass audiences
Dialogue: 0,0:03:41.60,0:03:46.88,Default,,0000,0000,0000,,but also things like newscasts, beauty \Npageants, professional wrestling–
Dialogue: 0,0:03:46.88,0:03:48.30,Default,,0000,0000,0000,,all kinds of stuff.
Dialogue: 0,0:04:01.88,0:04:05.72,Default,,0000,0000,0000,,It seems that there’s something \Ninherently compelling about
Dialogue: 0,0:04:05.72,0:04:07.98,Default,,0000,0000,0000,,repetition and about the loop.
Dialogue: 0,0:04:08.99,0:04:13.60,Default,,0000,0000,0000,,You know, it’s like a fireplace, or \Nsort of like a moth to the flame,
Dialogue: 0,0:04:14.48,0:04:17.64,Default,,0000,0000,0000,,it’s just you know, something \Nthat kind of draws you in.
Dialogue: 0,0:04:18.40,0:04:21.93,Default,,0000,0000,0000,,Makes you just want to kind \Nof stare at it for a while.
Dialogue: 0,0:04:33.68,0:04:36.00,Default,,0000,0000,0000,,I borrow so much of what I use.
Dialogue: 0,0:04:36.00,0:04:39.40,Default,,0000,0000,0000,,I think of myself much less as an author
Dialogue: 0,0:04:39.40,0:04:47.50,Default,,0000,0000,0000,,and more like a poacher or \Na translator or a mediator.
Dialogue: 0,0:04:50.24,0:04:51.79,Default,,0000,0000,0000,,Last night was really quite unique,
Dialogue: 0,0:04:52.96,0:04:57.52,Default,,0000,0000,0000,,I’m actually advocating this as opposed \Nto dry footage from the television.
Dialogue: 0,0:04:59.96,0:05:03.60,Default,,0000,0000,0000,,Still in a way I feel like I'm \Nwatching something like a TV image.
Dialogue: 0,0:05:03.60,0:05:07.52,Default,,0000,0000,0000,,And I'm watching material that \NI've been working with already.
Dialogue: 0,0:05:20.28,0:05:23.80,Default,,0000,0000,0000,,The title “Fragment of a \NCrucifixion” is a direct quote
Dialogue: 0,0:05:23.80,0:05:26.84,Default,,0000,0000,0000,,from a Francis Bacon painting from the fifties
Dialogue: 0,0:05:26.84,0:05:32.48,Default,,0000,0000,0000,,and like many of Francis \NBacon’s figures he’s screaming.
Dialogue: 0,0:05:32.48,0:05:36.65,Default,,0000,0000,0000,,And the question is screaming \Nwhy or because of what.
Dialogue: 0,0:05:38.96,0:05:43.64,Default,,0000,0000,0000,,I saw in that image of the basketball \Nplayer “Fragment” video figure again,
Dialogue: 0,0:05:43.64,0:05:47.98,Default,,0000,0000,0000,,surrounded sensorily by extreme situation,
Dialogue: 0,0:05:48.80,0:05:54.03,Default,,0000,0000,0000,,at the center of the attention of thousands \Nof people and under bright lights.
Dialogue: 0,0:05:56.08,0:06:01.04,Default,,0000,0000,0000,,And what that implies is a kind \Nof sense of the figure again
Dialogue: 0,0:06:01.04,0:06:06.16,Default,,0000,0000,0000,,dissolving into the accumulation of \Ncapital until it becomes an image.
Dialogue: 0,0:06:08.44,0:06:12.08,Default,,0000,0000,0000,,Literally part of it is that \Nhe just made a million dollars,
Dialogue: 0,0:06:13.32,0:06:16.10,Default,,0000,0000,0000,,but it also seems like a very \Nprecarious position to be in.
Dialogue: 0,0:06:23.88,0:06:28.56,Default,,0000,0000,0000,,There is a kind of humiliation \Nin that process of simply
Dialogue: 0,0:06:28.56,0:06:36.24,Default,,0000,0000,0000,,becoming objects of admiration or \Npeople simply becoming consumers.
Dialogue: 0,0:06:56.12,0:06:59.80,Default,,0000,0000,0000,,What led me to start working \Non the “Long Count” pieces,
Dialogue: 0,0:06:59.80,0:07:02.10,Default,,0000,0000,0000,,where the boxer is erased from the ring,
Dialogue: 0,0:07:03.12,0:07:10.00,Default,,0000,0000,0000,,was a failure that I encountered when I \Nwas working on “Fragment of a Crucifixion.”
Dialogue: 0,0:07:10.84,0:07:14.80,Default,,0000,0000,0000,,In that original scene there were \Nquite a few other players on the court
Dialogue: 0,0:07:14.80,0:07:18.84,Default,,0000,0000,0000,,so I removed the other \Nplayers, the basketball hoops
Dialogue: 0,0:07:18.84,0:07:21.26,Default,,0000,0000,0000,,and quite a few other details.
Dialogue: 0,0:07:21.26,0:07:24.44,Default,,0000,0000,0000,,And so I was going very slowly, frame by frame,
Dialogue: 0,0:07:24.44,0:07:28.64,Default,,0000,0000,0000,,trying to make sure that there \Nwas kind of seamlessness to it.
Dialogue: 0,0:07:28.64,0:07:31.84,Default,,0000,0000,0000,,What I found was that there was \None particular figure in the image
Dialogue: 0,0:07:31.84,0:07:34.80,Default,,0000,0000,0000,,I could not get erasure of that figure.
Dialogue: 0,0:07:34.80,0:07:36.84,Default,,0000,0000,0000,,A few months later just looking back at it again
Dialogue: 0,0:07:36.84,0:07:40.16,Default,,0000,0000,0000,,I thought in a way there was \Nsomething really interesting
Dialogue: 0,0:07:40.96,0:07:44.28,Default,,0000,0000,0000,,and integral to the material ah,
Dialogue: 0,0:07:44.28,0:07:46.35,Default,,0000,0000,0000,,about that kind of evidence of the erasure.
Dialogue: 0,0:07:48.90,0:07:51.96,Default,,0000,0000,0000,,And, so I decided to try to do \Nanother piece, “The Long Count,”
Dialogue: 0,0:07:52.56,0:07:55.00,Default,,0000,0000,0000,,that capitalized a bit more on this quality.
Dialogue: 0,0:07:58.15,0:08:00.72,Default,,0000,0000,0000,,And so that's what I think of in a way as craft.
Dialogue: 0,0:08:00.72,0:08:03.44,Default,,0000,0000,0000,,Building a relationship to the material,
Dialogue: 0,0:08:04.28,0:08:08.88,Default,,0000,0000,0000,,discovering the things that it \Nwill do despite your will that
Dialogue: 0,0:08:08.88,0:08:13.74,Default,,0000,0000,0000,,may end up being more interesting then what \Nyou were trying to will the material to do.
Dialogue: 0,0:08:16.40,0:08:20.60,Default,,0000,0000,0000,,I would happily sit in my \Nroom and do this work all day—
Dialogue: 0,0:08:20.60,0:08:22.36,Default,,0000,0000,0000,,it’s a bit like meditation.
Dialogue: 0,0:08:25.40,0:08:27.66,Default,,0000,0000,0000,,I also feel like it’s a bit \Nlike painting or drawing,
Dialogue: 0,0:08:28.24,0:08:32.52,Default,,0000,0000,0000,,in the sense that you leave your everyday kind of
Dialogue: 0,0:08:32.52,0:08:37.28,Default,,0000,0000,0000,,consciousness of the world and \Nachieve a certain kind of focus.\N
Dialogue: 0,0:09:12.28,0:09:18.32,Default,,0000,0000,0000,,“Morning After the Deluge” is a direct \Nquote from a painting by Turner.
Dialogue: 0,0:09:18.32,0:09:23.40,Default,,0000,0000,0000,,It refers to, this investigation of \Na perceptual phenomenon in nature
Dialogue: 0,0:09:23.40,0:09:25.56,Default,,0000,0000,0000,,and also has a biblical reference,
Dialogue: 0,0:09:25.56,0:09:29.36,Default,,0000,0000,0000,,since the “Morning After the \NDeluge” is the story of Noah’s ark.
Dialogue: 0,0:09:30.52,0:09:31.64,Default,,0000,0000,0000,,So if you really think about it,
Dialogue: 0,0:09:31.64,0:09:35.12,Default,,0000,0000,0000,,it’s the morning after the \Ncomplete annihilation of the world.
Dialogue: 0,0:09:37.52,0:09:41.32,Default,,0000,0000,0000,,These days it’s quite idealistic \Nto think of the viewer
Dialogue: 0,0:09:41.32,0:09:46.12,Default,,0000,0000,0000,,as being anything but distracted given \Nthe kind of image-saturated world
Dialogue: 0,0:09:46.12,0:09:47.95,Default,,0000,0000,0000,,that people function in.
Dialogue: 0,0:09:51.36,0:09:52.80,Default,,0000,0000,0000,,In the “Morning After the Deluge,”
Dialogue: 0,0:09:52.80,0:09:54.60,Default,,0000,0000,0000,,you have to be there for at \Nleast the first few minutes
Dialogue: 0,0:09:54.60,0:09:59.08,Default,,0000,0000,0000,,if not for the full 20 \Nminutes to see the full loop
Dialogue: 0,0:09:59.08,0:10:03.00,Default,,0000,0000,0000,,and to get the full sense of \Nthe sun rising and setting.
Dialogue: 0,0:10:03.00,0:10:05.76,Default,,0000,0000,0000,,In a way, it’s not very viewer-friendly.
Dialogue: 0,0:10:07.60,0:10:09.16,Default,,0000,0000,0000,,The shot is in real time—
Dialogue: 0,0:10:09.16,0:10:11.40,Default,,0000,0000,0000,,it almost looks like nothing’s happening.
Dialogue: 0,0:10:11.66,0:10:13.32,Default,,0000,0000,0000,,You really have to kind of stand for a while
Dialogue: 0,0:10:13.32,0:10:17.38,Default,,0000,0000,0000,,to get the sense that the sun \Nis slowly setting and rising.
Dialogue: 0,0:10:18.20,0:10:21.48,Default,,0000,0000,0000,,In the meantime though, there’s a \Nlot of other action that’s happening
Dialogue: 0,0:10:21.48,0:10:23.58,Default,,0000,0000,0000,,on a much smaller scale.
Dialogue: 0,0:10:24.63,0:10:28.56,Default,,0000,0000,0000,,You have birds flying very \Nquickly through the screen.
Dialogue: 0,0:10:28.56,0:10:33.84,Default,,0000,0000,0000,,It’s almost at like a pixeled level, \Nbarely there at all but projected big.
Dialogue: 0,0:10:33.84,0:10:36.02,Default,,0000,0000,0000,,This is something you get to see—
Dialogue: 0,0:10:37.92,0:10:41.59,Default,,0000,0000,0000,,this is maybe what you enter \Nin on as a moving image,
Dialogue: 0,0:10:42.24,0:10:45.20,Default,,0000,0000,0000,,but as you sit with it a while longer,
Dialogue: 0,0:10:45.72,0:10:48.42,Default,,0000,0000,0000,,the bigger movements become \Nmore accessible to you.
Dialogue: 0,0:10:51.68,0:10:56.03,Default,,0000,0000,0000,,I like to think that there might be \Nsomeway to create something that,
Dialogue: 0,0:10:58.04,0:11:04.61,Default,,0000,0000,0000,,you could take something away from it even \Nif you’re only there for, like a fraction.
Dialogue: 0,0:11:12.40,0:11:15.68,Default,,0000,0000,0000,,If you’re asking yourself, ‘is \Nthere anything beyond television?’
Dialogue: 0,0:11:16.28,0:11:19.45,Default,,0000,0000,0000,,you could turn off the television and go outside,
Dialogue: 0,0:11:20.12,0:11:23.60,Default,,0000,0000,0000,,but I think what’s more interesting \Nfor an artist is to attempt
Dialogue: 0,0:11:23.60,0:11:27.56,Default,,0000,0000,0000,,to answer that question through an \Nexploration of the media itself.
Dialogue: 0,0:11:30.00,0:11:35.33,Default,,0000,0000,0000,,And I’m attempting to answer it through \Na kind of creation of the illusion.