Space is the place?

February 19, 2012

Having seen my installation and Richard Jackson’s stuff and thinking about my own work as well as Jason Rhoades and Thomas Hirschhorn and my lust for that kind of space gluttony I’ve been thinking a lot about space itself, because the kind of work I want to do involves using large rooms floor to ceiling with both photos on the walls and every manner of sculptural/architectural intervention I can think of.  But you need space to do that.  Not just gallery space, but also studio space and storage space, and I don’t have any of the three on hand right now.  And in order to get most kinds of space you need, you need one thing: money.  And if you read this blog regularly you know where I’m at with that.

I’m even interested in trying reduce parts of what I’d do with an installation down to one self-contained sculpture, for example.  Which I could do in my office/bedroom but which I have nowhere to put, much less photograph in order to show a prospective curator or gallerist what it is I’ve made.  So what’s happening with my work right now is not that I’ve gotten bored with making photos–I’ve actually gotten more invested in it as a starting point for building environments–but if and when I do talk to any upcoming gallerists or curators I want to show myself as the space-needing, ambitious gesamtkunstwerk artist that I am, and there’s no way to do that outside of just describing or making drawings and schematics of what I want to do, which I’m going to start trying but which I’m not sure will be accurate depictions, even if they’re very loose.

And it interests me that this is interesting coming from a photographer, making images that take up hard drive space, usually, or even if printed and framed are relatively flat.  What’s coming back, triggered maybe by seeing the Jackson work and by Mike Kelley’s death, is my over-a-decade-old rootlessness and lust to make that kind of work before I gravitated toward photos and discovered I could make art out of text.  It’s my old romance with the ’90s LA MOCA Helter Skelter show, which was a factor in why I wanted to go to grad school in LA.  What it comes down to is that I want to make work people experience bodily instead of work that people see, and that I’m not sure a photo by itself, even if presented like the object it is, is enough to get people to make the transition between two different kinds of phenomenology.  If a photo is large enough it may be able to do that but right now I’m not interested in large photos, the single-image experience, I’m interested in smaller, heavily loaded photos that can sit in conversation with each other.


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