| images 1 |
| page 1 of 2 |
 |
| I love the act of seeing. It’s a tremendous stimulant for me. I love to get excited over things I see. |
 |
 |
| 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. |
 |
 |
 |
| 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. |
 |
 |
 |
| 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. |
 |
 |
 |
| 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. |
 |
| page 2 |
| home |
| about |
| links |
| the truthbary |
| chads |
| peret letter |
| poems |
 |
|
|
|
|
|
|
 |
| a film |
|