R.E yeh but. At the moment the work is the action. It’s a moment-to-moment recognition of what I doing. I like to work in process because, one it gives me a kind of framework of stability, a routine to stick to. Because you’re focusing on it, whether its cutting up pieces of paper or drilling hole in wood, anything you are aware of yourself and the action that your doing. When the rule dictate that this piece will stop, the works over. What’s left is the end point, a reminder, detritus, a frozen moment in time. However you perceive that. Really I don’t care. If I’m doing anything to insight a reaction, its to interest people enough to wander why.
T.H Do you think that’s where an aesthetic concern has to happen?
R.E I think I’m doing that for me as well, I think I wander what it would look like to see a wardrobe completely full of holes. I think it would look great. I’m going to do it and see what it looks like. Because I’m making art for people. Yeh, there is a concession to make. I think the concession was the house hold object to entice them in, to create that engagement. But I don’t really mind if they don’t like it or not. It would be nice to think that they do, but I’m not thinking, ‘shit everybody’s gotta love my work’. The question they ask don’t interest me. I’m not asking any question, I’m not looking for answers.
A lot of what I’m saying, you’ll listen back and think, ‘well he’s contradicted himself there’. I think a lot of that is art, is zen, is everything. Because it’s all a paradox, everything is. Less is more, more is less. There are so many paradoxes in art, Im doing this for me. But people are going to see it, so it’s for them too. I don’t care what they think, well there is a part of me that does care.
T.H Do you think these terms like process as a throw away and easy work are born out of this place, as an institution?
R.E I think its born out of art. I think that people like labels. Its what we do, we form opinions and we label.
Can I just pull back to something you said earlier, you said something before about how it’s not clear why the work ended where it did? That point has been raised a few times with a few things I’ve done. You enter into this agreement with the object, where you are going to apply a process to you. In a way id likes to think I change the way people think about it, or would look at it. I change its visual, and that’s the begging. Its changed, so why and this that and the other. Part of that contract that you set up is that it had to stay standing. So the point I had to stop is the point It was ready to collapse. Right now, if you were to open the door the weight of the door pulling open pulls it into to half’s. There is where the titles work, because it had to be a freestanding wardrobe. Maybe I need to clarify that more. Maybe that will be the feedback I get.
