I carry the tools of my trade in a very light plastic portfolio case, ready to emerge at a moment’s notice. If you look inside this envelope, you’ll find a .9mm mechanical pencil, an equally large eraser, a15-inch straight edge with cork backing (so it doesn’t smear the graphite markings), and 11×17 staff paper. Lots and lots of large staff paper.
Although in our discussions, Katherine and I had agreed that she would leave the performance implements visible in the gallery as part of the overall whole, I was delightfully surprised to find them officially displayed, complete with a tag identifying them as “Instruments for Playing Water.” Yes, that’s exactly what they are.
I would argue that objective truth is not only distinguishable, but that it should be valued and treasured. As citizens, we should strive towards the sort of skepticism that allows us to remain impartial as we determine the authenticity of the evidence laid out before us. But as artists, we can embrace the impossibility of true surety.
As soon as I began to think about form beyond the traditional models, I found a teeming mass of great art created outside of these molds. Eventually, I realized that aberrant structures are truly normative, that the standard forms exist mainly as theoretical constructs and are rarely evinced in interesting and successful works of art.
As I write this, the Olympic closing ceremonies are concluding. I adore these sorts of grand spectacles. Each Olympic host nation tries to outdo the previous presentations in a sort of creative arms race that has reached recent culminating points in the precision of the Beijing games and in the whimsy of this London edition.