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| I love the act of seeing. It�s a tremendous stimulant for me. I love to get excited over things I see. |
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| I was looking at shadows all around me and wondered what it�d be like if they were solid forms. Shadows in most art and film are so wistful and thin � no weight. I wondered what they�d be like painted on heavy paper. |
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| As you know, I�m constantly trying to come up with ways to get people more involved with what they�re perceiving/doing. I was trying to cut a film and was taking a break. I started picking up strands I cut from the floor � looking at them and holding them up to the light. Liked looking at three � about 100 frames at a time. Then thought � what if there were tons of these in large metal boxes, in a room with some lamps that fold so you can adjust the angle? Make a film � a one reeler � then have it exist in two states � one in fragments as I said � the idea being to sort through the fragments in any order you choose � bit like playing detective I guess. Forcing people to make sense of it, to finish it. Then in another room is the second half, where the whole film is projected in regular intervals. Museum/gallery staff making sure that only those who�ve participated [by sorting through the boxes] are allowed in. So, they see the film and hopefully they�d go through a lot of self questioning, reconciling the way they�ve first seen/assembled/interpreted the fragments with the real film. Also I�d think that odd sensory things would occur, the mind and senses constantly going back and forth between one way of perceiving and another. |
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| Still working on the musical film � it�s almost done actually. It�s on paper, but will hafta make a proper job of it. I like it, and can�t think of the last time I said that about something I�ve done. It�s all pretty much happy, sappy and romantic and subtle - and gay. Pleased that I�ve managed to live up to wanting to create the first, true, gay �date film�. Entertaining as well as artsy � like most stuff of mine, can be read on many levels, only this one is more so. Each viewer brings his experience to the film. And at least for now � not one word of audible dialogue. Totally silent, save for music, as well as a few �speech cards� like in [old] silent films, but mine will just be like regular subtitles. Circa 100 minutes of great stuff to hear and look at. I think it�s a great idea � but I�m not a good judge of that, as I thought Warhol�s 6 hour �Empire� was fantastic entertainment. |
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| What does it mean if an artist signs bits of mirror? Is your reflection his, as well as it�s his art, and he�s enable you to be created? The numerical scheme that seems to underlay the whole ['Darlo Homo' mirror installation I am working on] is � to use an elliptical phrase � �threes that aren�t threes�. Nothing is as it seems. (Reminds me of something Fellini once said about Beuys, �That�s what we need � artists as magicians/conjurers!�) I love that it�s so obvious you don�t know it. My love of opposite things, playing one end against the other, constant contradiction � and most of all, resolution. It has to look good, and interesting, but that�s not what I care about � it�s going beyond that. If people don�t get it � then that�s fine with me. So long as they�ve been entertained for a few secs, my job is done. I hate talking about work because I know that no one knows or cares, and I hate boring people. As long as something�s beautiful � I care about that. |
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