I had the chance to see your installation Plymouth Rock at the Whitney Museum in New York in 2012. I was so impressed that even a week after I couldn’t get out of my head the song Conga by Gloria Estefan, which was playing constantly in the exhibition room.
What influences the sound in your installations? Is it a fundamental element? When does it intervene or at least when does it take place in your creative process?
Sound is a mood and sound is an object and I like asking myself how it looks like when mood is an object, and also when mood is the vessel for the object. Usually, it has plural operations.
There is no narration principle in your videos, the editing you do seem rather intuitive and follow a fluid that crosses several space-time, how is this stage of work built?
Extremely inefficiently. What I’m after always is the feeling that the composition always has one element more than can be totally grasped at once. So that logic exists but it’s always just short of accounting for itself. And the sequential thrust always hinges on the just barely graspable thing that is always changing.
So because my process involves grasping just beyond my own understanding, it is a lot of meandering trial and error until I arrive at what I want to feel like a solid body of interdimensional harmonies. Several overlapping narratives oscillating between kinetic and potential states of being. There is a performance element in the editing
The different everyday objects that you organize in space come, integrate and contaminate the projected videos. In your piece World Peace, for example a bottle of water in front of the video projector highlights the fact that Madonna is always in the middle of the image in her music videos. Do you have a particular affection for certain types of objects? Do you collect them a lot?
It’s true I’m kind of a hoarder, but sometimes I feel more connected to the hoarding of compositions rather than the hoarding of the actual objects but it changes. In any case it makes it very hard to clean up. Though, I just want to say, and I know I’m being fussy!
That Madonna piece is not only about the center of the frame, the centering is just the organic mechanism which allows the piece to function.
The water bottle would catch Madonna’s dancing body in all her music videos over time, and throw it all over the room, and it did this thing where the subject was transformed into this shifting, room filling aura spewing from a very still bottleshape-and without the distracting specificity of Madonna, it made you listen to the lyrics which (because of heavy catholic imagery) often referred to ‘‘the light’’ and ‘‘my body’ ’ and transfiguration and various forms of wetness, which when combined with the music videos, offered a very emotional perspective on the evolution of image technology. I haven’t thought about that work in a while; it’s a very hard water bottle to find these days. I don’t know how to spell it, it’s Polish!