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Photo: Alex Yudzon. Copyright: Cerith Wyn Evans I’m curious about the use of an ellipsis in the show’s title, “no realm of thought…/…no vision.” There is a way that [ellipsis] transforms. The full stop isn’t particularly satisfying because it doesn’t allow you to allude to everything. Desire doesn’t really end when it is transformed into literature. The whole concept of syntax melted. So when you have something like “dot, dot, dot”, that implies that something has not happened or continues or is unstable, all of which I assume I determine how I proceed. I think the ellipsis also applies to a larger gesture of doubt, which is the unique domain of conceptual artists like you, or others like Marcel Duchamp or Marcel Broodthaers. What interests me about conceptual art is how doubt or failed consideration can become the focus of the work. Not just whether the work is good or bad, but whether it is meaningful or meaningful. The sense of the senses is about natural progression. It requires rational thinking. This is the control of the language of the world. So when I have a tactile doubt on these things, I introduce an entirely different possibility that people can identify with doubt or stutter. Cubism also did this. I could even say Cézanne did this. It goes back a long way. You are passionate about the “not necessarily” principle. Remember when people had CDs or records and they would just ignore it? It will get caught up in its little micro revolution…when something goes wrong or you have to wait when something is loading in the cache or you don’t have enough speed to download something. Looking at those nasty spaces becomes part of the job, part of the script.
Another important aspect of this questionable question is that your work – and that of Duchamp – stops at a unique position between the optics or the retina and the concept. We tend to think about the experience or materiality of light when living in an ecstatic space where language stops or is silent. This becomes a pure epiphany or illumination space. But your work always tries to combine optics and rhetoric, light and words. Well, I think you’re generous when you think about it. In a way, I largely support you there. It’s a territory I recognize. Now, if we look at Marcel Duchamp, there is very little that he has shed any light on. There are all sorts of references in his work to light, but rarely does his work shed any light on anything. But a lot of his work is somehow concerned with this idea that visual art needs light to make it exist or be visible.
I think your work is also always trying to create a language or history around light by turning it into an atmosphere. Well, I can’t help myself. I did not set out to do this. I don’t really go too far to say, “Okay, this is what I’m trying to do now.” I feel it’s always been much more instinctive. I’m just trying to improvise in this area. I do not think in the light. My father is a photographer. So when I was one year old, I didn’t think, “Why is my dad a photographer?” It was given to me. Étant donnes. My father is said to have a dark room in the garden where he can take pictures. I don’t have to get to the point where I’m starting to think working with light is a good idea. I was born with that.
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