[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:17.40,0:00:22.20,Default,,0000,0000,0000,,ELLEN GALLAGHER: This is \Nalmost done, you can take over.
Dialogue: 0,0:00:25.11,0:00:28.94,Default,,0000,0000,0000,,I think it’s in the work that play with joy.
Dialogue: 0,0:00:29.56,0:00:36.00,Default,,0000,0000,0000,,I think artists know that you can take a kind of,\Nan advertising sign and make something joyful
Dialogue: 0,0:00:36.00,0:00:38.64,Default,,0000,0000,0000,,and um, other with it.
Dialogue: 0,0:00:38.64,0:00:40.68,Default,,0000,0000,0000,,And I think it’s sometimes uh,
Dialogue: 0,0:00:40.68,0:00:47.60,Default,,0000,0000,0000,,hard for people who don’t make things\Nto understand labor and joy and attention
Dialogue: 0,0:00:47.60,0:00:49.05,Default,,0000,0000,0000,,and uh, whimsy.
Dialogue: 0,0:00:51.23,0:00:53.80,Default,,0000,0000,0000,,I didn’t really come from a fine arts background,
Dialogue: 0,0:00:53.80,0:00:56.52,Default,,0000,0000,0000,,although you know I certainly \Nwent to museums as a kid.
Dialogue: 0,0:00:57.88,0:01:00.50,Default,,0000,0000,0000,,I came from a carpentry background
Dialogue: 0,0:01:00.60,0:01:04.56,Default,,0000,0000,0000,,and I worked in Seattle \Nbuilding a bridge connecting uh,
Dialogue: 0,0:01:04.56,0:01:06.92,Default,,0000,0000,0000,,Mercer Island and Seattle.
Dialogue: 0,0:01:06.92,0:01:10.52,Default,,0000,0000,0000,,It was a floating bridge that \Nhas since collapsed, but....
Dialogue: 0,0:01:12.64,0:01:15.79,Default,,0000,0000,0000,,So when I went to art school about a year later,
Dialogue: 0,0:01:16.28,0:01:17.55,Default,,0000,0000,0000,,that was what I knew how to do.
Dialogue: 0,0:01:19.80,0:01:24.19,Default,,0000,0000,0000,,And I built a latticework grid and \Nstretched the canvas over that.
Dialogue: 0,0:01:24.68,0:01:28.64,Default,,0000,0000,0000,,That way I could sit on the canvas as I um,
Dialogue: 0,0:01:28.64,0:01:32.04,Default,,0000,0000,0000,,began gluing sheets of penmanship paper down.
Dialogue: 0,0:01:49.04,0:01:52.39,Default,,0000,0000,0000,,Penmanship paper for me is more about gesture.
Dialogue: 0,0:01:55.08,0:01:59.49,Default,,0000,0000,0000,,It’s not so much about grammar as it \Nis about how you make your letters.
Dialogue: 0,0:02:00.20,0:02:03.54,Default,,0000,0000,0000,,So there’s this watery push and pull between the,
Dialogue: 0,0:02:03.54,0:02:07.16,Default,,0000,0000,0000,,the watery blue of the penmanship \Npaper lines and then the,
Dialogue: 0,0:02:07.65,0:02:10.46,Default,,0000,0000,0000,,the gestural marks made \Nin, inside and around them.
Dialogue: 0,0:02:12.28,0:02:16.48,Default,,0000,0000,0000,,The larger works then are made in a similar way as\Nthe earlier penmanship paper works,
Dialogue: 0,0:02:16.48,0:02:20.80,Default,,0000,0000,0000,,in that they are built from found material.
Dialogue: 0,0:02:34.76,0:02:39.96,Default,,0000,0000,0000,,I’m basically collecting archival material\Nfrom the 1930s through the 70s,
Dialogue: 0,0:02:39.96,0:02:41.47,Default,,0000,0000,0000,,these Ebony magazines.
Dialogue: 0,0:02:42.32,0:02:44.43,Default,,0000,0000,0000,,Ebony, Sepia and Our World.
Dialogue: 0,0:03:00.16,0:03:03.56,Default,,0000,0000,0000,,They were kind of manifestos in a way, you know.
Dialogue: 0,0:03:03.56,0:03:06.32,Default,,0000,0000,0000,,And um, but they were magazine,
Dialogue: 0,0:03:06.32,0:03:09.52,Default,,0000,0000,0000,,they still were entertainment and um, but they,
Dialogue: 0,0:03:09.52,0:03:14.62,Default,,0000,0000,0000,,they had a kind of urgency and a \Nnecessity to them, also a whimsy.
Dialogue: 0,0:03:19.96,0:03:26.25,Default,,0000,0000,0000,,I’m collecting advertisements \Nand stories and characters.
Dialogue: 0,0:03:33.00,0:03:35.44,Default,,0000,0000,0000,,And I see them as conscripts in the sense that
Dialogue: 0,0:03:35.44,0:03:40.09,Default,,0000,0000,0000,,they come in to my lexicon \Nwithout me asking them permission.
Dialogue: 0,0:03:44.16,0:03:47.79,Default,,0000,0000,0000,,There’s still yet a specificity in each person’s,
Dialogue: 0,0:03:48.64,0:03:50.24,Default,,0000,0000,0000,,I don’t know, the way they hold their body
Dialogue: 0,0:03:50.24,0:03:53.70,Default,,0000,0000,0000,,or some subtle key that says, t\Nhis is who I am at this time.
Dialogue: 0,0:03:55.16,0:03:58.16,Default,,0000,0000,0000,,It seemed to me to be about identity in,
Dialogue: 0,0:03:58.16,0:04:01.13,Default,,0000,0000,0000,,in the most open sense of that word.
Dialogue: 0,0:04:03.56,0:04:06.44,Default,,0000,0000,0000,,No matter how uniform or altered,
Dialogue: 0,0:04:07.04,0:04:09.43,Default,,0000,0000,0000,,it just refuses to be stamped out.
Dialogue: 0,0:04:10.52,0:04:12.44,Default,,0000,0000,0000,,ou know when you’re reading a magazine or a book
Dialogue: 0,0:04:12.44,0:04:13.88,Default,,0000,0000,0000,,that’s a particular kind of reading.
Dialogue: 0,0:04:13.88,0:04:17.08,Default,,0000,0000,0000,,It’s a kind of sequential, page by page and you,
Dialogue: 0,0:04:17.44,0:04:21.48,Default,,0000,0000,0000,,you know, remember what\Nyou’ve just read five pages ago or you don’t.
Dialogue: 0,0:04:21.48,0:04:24.24,Default,,0000,0000,0000,,And, but it’s, that’s how \Nyou keep that information.
Dialogue: 0,0:04:24.24,0:04:26.52,Default,,0000,0000,0000,,And the reading of a painting, what I,
Dialogue: 0,0:04:26.52,0:04:29.28,Default,,0000,0000,0000,,what I loved was this idea of opening up the pages
Dialogue: 0,0:04:29.28,0:04:34.29,Default,,0000,0000,0000,,so that your sequence was then more \Nspatial rather than sequential.
Dialogue: 0,0:04:36.20,0:04:41.05,Default,,0000,0000,0000,,In the paintings there are \Ncharacters that repeat and recur.
Dialogue: 0,0:04:42.10,0:04:43.52,Default,,0000,0000,0000,,Pegleg is one.
Dialogue: 0,0:04:44.28,0:04:46.81,Default,,0000,0000,0000,,Sometimes there will be a compass next to Pegleg.
Dialogue: 0,0:04:48.28,0:04:51.84,Default,,0000,0000,0000,,Those kind of signs are in the paintings to um,
Dialogue: 0,0:04:51.84,0:04:56.29,Default,,0000,0000,0000,,activate Pegleg as both Ahab and Pegleg Bates.
Dialogue: 0,0:04:57.76,0:05:01.04,Default,,0000,0000,0000,,I’m attracted to the \Nvisceralness of the body of Ahab,
Dialogue: 0,0:05:01.04,0:05:01.98,Default,,0000,0000,0000,,that wooden leg.
Dialogue: 0,0:05:03.52,0:05:05.56,Default,,0000,0000,0000,,I also like the way in Moby Dick,
Dialogue: 0,0:05:05.56,0:05:08.61,Default,,0000,0000,0000,,you’re so aware of people’s physical presence and,
Dialogue: 0,0:05:09.08,0:05:13.16,Default,,0000,0000,0000,,and the sound that you know this \Nidea of these men hearing this
Dialogue: 0,0:05:13.16,0:05:16.00,Default,,0000,0000,0000,,sort of scraping of the wood as, as uh,
Dialogue: 0,0:05:16.00,0:05:18.83,Default,,0000,0000,0000,,Ahab dragged his leg across.
Dialogue: 0,0:05:22.83,0:05:27.48,Default,,0000,0000,0000,,And the paintings for me functioned\Nas a gate into the watery static realm.
Dialogue: 0,0:05:27.48,0:05:29.24,Default,,0000,0000,0000,,And then that room in the back was
Dialogue: 0,0:05:29.24,0:05:31.72,Default,,0000,0000,0000,,another kind of cabinet,\Nthe species cabinet.
Dialogue: 0,0:05:33.41,0:05:39.69,Default,,0000,0000,0000,,That work is work I made as I traveled\Neither in Cuba or in uh, Senegal.
Dialogue: 0,0:05:43.76,0:05:49.81,Default,,0000,0000,0000,,And in Cuba is where all those colors came from,\Nthe green in particular.
Dialogue: 0,0:05:50.52,0:05:51.90,Default,,0000,0000,0000,,And the red came from this,
Dialogue: 0,0:05:51.90,0:05:54.76,Default,,0000,0000,0000,,this berry that you use to dye meat and rice.
Dialogue: 0,0:05:54.76,0:05:57.59,Default,,0000,0000,0000,,So the kind of coral, red color came from that.
Dialogue: 0,0:06:12.08,0:06:15.24,Default,,0000,0000,0000,,They’re also made by scratching \Ndirectly into the paper
Dialogue: 0,0:06:15.24,0:06:17.83,Default,,0000,0000,0000,,and carving into the paper, much like scrimshaw.
Dialogue: 0,0:06:22.92,0:06:28.44,Default,,0000,0000,0000,,I liked that idea of making \Nsomething so focused in this um,
Dialogue: 0,0:06:28.44,0:06:30.00,Default,,0000,0000,0000,,in my case, in a new environment.
Dialogue: 0,0:06:30.00,0:06:32.12,Default,,0000,0000,0000,,And I think in scrimshaw, it’s interesting to me
Dialogue: 0,0:06:32.12,0:06:34.12,Default,,0000,0000,0000,,that you would make something on a,
Dialogue: 0,0:06:34.12,0:06:37.36,Default,,0000,0000,0000,,a bone so like these detailed worlds that,
Dialogue: 0,0:06:37.36,0:06:39.20,Default,,0000,0000,0000,,while you are out in the middle of nowhere,
Dialogue: 0,0:06:39.20,0:06:41.18,Default,,0000,0000,0000,,trying to catch this giant monster.
Dialogue: 0,0:06:47.08,0:06:52.04,Default,,0000,0000,0000,,I think there’s a way in which my \Ninterest in the water and travel
Dialogue: 0,0:06:52.04,0:06:56.60,Default,,0000,0000,0000,,in some specific ways may \Nhave to do with the idea of
Dialogue: 0,0:06:56.60,0:07:00.00,Default,,0000,0000,0000,,my family arrived here by water.
Dialogue: 0,0:07:01.15,0:07:05.91,Default,,0000,0000,0000,,My father’s family came on \Nwhaling ships from Cape Verde.
Dialogue: 0,0:07:07.16,0:07:09.79,Default,,0000,0000,0000,,But the Irish came a while ago.
Dialogue: 0,0:07:18.36,0:07:23.00,Default,,0000,0000,0000,,In a way the films do literally what I would hope
Dialogue: 0,0:07:23.00,0:07:25.40,Default,,0000,0000,0000,,people would do with their \Npaintings in their mind.
Dialogue: 0,0:07:28.00,0:07:32.88,Default,,0000,0000,0000,,The films, they’re also this grid \Nand it’s this grid where the, the…
Dialogue: 0,0:07:32.88,0:07:37.01,Default,,0000,0000,0000,,each frame erases the frame \Nbefore it as you move forward.
Dialogue: 0,0:07:37.88,0:07:41.40,Default,,0000,0000,0000,,So it’s, it’s literally a \Nprojection of a grid in space,
Dialogue: 0,0:07:41.40,0:07:44.06,Default,,0000,0000,0000,,but it’s in the same place over and over again.
Dialogue: 0,0:07:45.88,0:07:51.03,Default,,0000,0000,0000,,The first film in that, in MURMUR \Nthat I made is water ecstatic,
Dialogue: 0,0:07:53.72,0:07:56.96,Default,,0000,0000,0000,,which is made much like the series \Nof drawings, Water Ecstatic,
Dialogue: 0,0:07:56.96,0:08:02.61,Default,,0000,0000,0000,,through thick water color paper, \Ncutting into it and drawing over it.
Dialogue: 0,0:08:38.04,0:08:48.34,Default,,0000,0000,0000,,The grid to DELUXE is each individual \Npage is its own drama or its own stage.
Dialogue: 0,0:09:09.48,0:09:10.90,Default,,0000,0000,0000,,I wanted to mark him.
Dialogue: 0,0:09:16.63,0:09:19.47,Default,,0000,0000,0000,,But I, I certainly couldn’t \Ngive Isaac Hayes a wig.
Dialogue: 0,0:09:20.96,0:09:25.40,Default,,0000,0000,0000,,I also didn’t want the tattooing \Nto obliterate his face.
Dialogue: 0,0:09:28.13,0:09:31.32,Default,,0000,0000,0000,,And his shoulders just seemed \Nto be so beautiful to highlight.
Dialogue: 0,0:09:33.41,0:09:36.15,Default,,0000,0000,0000,,The two marks on the shoulders \Nwill be printed in black
Dialogue: 0,0:09:36.80,0:09:40.48,Default,,0000,0000,0000,,and the face will be printed \Nin a transparent base,
Dialogue: 0,0:09:40.48,0:09:44.08,Default,,0000,0000,0000,,sort of just an embossment over his skin.
Dialogue: 0,0:09:56.72,0:10:01.06,Default,,0000,0000,0000,,Oh wow, so cool.
Dialogue: 0,0:10:02.40,0:10:04.15,Default,,0000,0000,0000,,Can see it from the side.
Dialogue: 0,0:10:05.00,0:10:10.92,Default,,0000,0000,0000,,Love that it’s so beautifully inked that \Nthe engraving just looks like soft velvet.
Dialogue: 0,0:10:10.92,0:10:12.31,Default,,0000,0000,0000,,It’s beautiful, thank you.
Dialogue: 0,0:10:12.31,0:10:13.46,Default,,0000,0000,0000,,SPEAKER: My pleasure.
Dialogue: 0,0:10:16.73,0:10:20.16,Default,,0000,0000,0000,,GALLAGHER: The necklace, which is \Nthis sort of magic constellation
Dialogue: 0,0:10:20.16,0:10:21.63,Default,,0000,0000,0000,,traced on the computer
Dialogue: 0,0:10:24.39,0:10:29.68,Default,,0000,0000,0000,,and then a laser cuts all along the tracing lines.
Dialogue: 0,0:10:41.80,0:10:44.76,Default,,0000,0000,0000,,That’s then removed, plucked away from the,
Dialogue: 0,0:10:44.76,0:10:47.66,Default,,0000,0000,0000,,the skin of the paper.
Dialogue: 0,0:10:53.28,0:10:58.48,Default,,0000,0000,0000,,This idea of repetition and revision \Nis central to my working process.
Dialogue: 0,0:10:58.48,0:11:00.68,Default,,0000,0000,0000,,You know this idea of stacking and layering
Dialogue: 0,0:11:00.68,0:11:04.80,Default,,0000,0000,0000,,and building up densities and you know recoveries.
Dialogue: 0,0:11:17.24,0:11:20.40,Default,,0000,0000,0000,,He’s been altered in a way that um,
Dialogue: 0,0:11:20.40,0:11:24.96,Default,,0000,0000,0000,,the character that is now \Nmy conscripted Isaac Hayes
Dialogue: 0,0:11:25.58,0:11:27.93,Default,,0000,0000,0000,,should be altered to be in my lexicon.
Dialogue: 0,0:11:41.36,0:11:43.52,Default,,0000,0000,0000,,I think there is a nostalgia in…
Dialogue: 0,0:11:43.52,0:11:47.64,Default,,0000,0000,0000,,in my uh, gathering of this material and,
Dialogue: 0,0:11:47.64,0:11:53.00,Default,,0000,0000,0000,,and looking at this material \Nand trying to hold it still for,
Dialogue: 0,0:11:53.00,0:11:55.83,Default,,0000,0000,0000,,for a moment in these paintings or in the films.
Dialogue: 0,0:11:58.08,0:12:00.52,Default,,0000,0000,0000,,It’s not just a nostalgia in \Nterms of looking backwards,
Dialogue: 0,0:12:00.52,0:12:02.33,Default,,0000,0000,0000,,it’s a way of imagining forwards.
Dialogue: 0,0:12:04.04,0:12:06.56,Default,,0000,0000,0000,,As a way of constantly looking for home, you know,
Dialogue: 0,0:12:06.56,0:12:08.68,Default,,0000,0000,0000,,yet your in that gesture you’re,
Dialogue: 0,0:12:08.68,0:12:13.00,Default,,0000,0000,0000,,you’re continually moving forward\Nand continually seeing the world.