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- This is one of the most radical architectures built.
Over 70% of this building is a void.
It's the air, it's the light, it's the tilt.
It's all of these things
that really create an entirely new inner world
when you enter this museum.
You see how people behave differently.
They move differently.
Your whole sense of time and space changes.
How do you make a piece that helps me, helps the viewer,
helps the building understand itself anew?
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When you come up here,
you start to see this thing called the River of Images.
The River of Images goes around in one loop.
Moving images seem
like they're just bleeding into architecture.
The bay is this image maker.
It's making images through these shadows,
the shadows of the sculpture, my shadow,
and two images moving together.
So it's like a live film and this is total chance.
This will happen once every month.
The reels are in different speeds, so the moving images,
they collide at different times,
and then as you come around and you see this sculpture,
if you go to the top of the sculpture,
it really draws attention to this incredible oculus ceiling.
This is an important idea that people would go in the bay
and look out, 'cause you never stand where the art is.
You can imagine,
what's it like to be a painting hung in this space?
That's what you see.
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I use very mundane materials to really push
at that question
of how you imbue value in inanimate objects.
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People are very careful around the work.
There's a sense that any wind could just topple it.
That's really the cusp that I'm interested in meeting
where things are right at the point of coming together
but really at this fragile point
where you could imagine them falling apart at any time.
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Looking at it, you can try and trace a history
of how it's made.
It's all there for you.
You can see the clamps, you can see the props.
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Every artwork is a timekeeper.
It's a time capsule of what it means to be alive.
To go see an ancient artwork
and realize this was touched by human beings,
this was seen by centuries of people,
and I am now having a conversation
with all of those human beings through an object.
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Anything in this museum is here
because hundreds of people
have shepherded that work through.
The artist is just one piece of that.
I'm really grateful for the people I work with.
When I was young, I look at my painter friends
and I would say they spend the whole day alone.
(Sarah chuckling)
Now that I have children, and I teach,
and I have older parents, being alone in a room
with a painting is an incredible pleasure.
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For this show,
I wanted to only have paintings bigger than your body.
The paintings became portals to interior landscapes.
They tell us about how we see inside our heads,
how memories are collected,
how they're lost, how they're misinterpreted, reinterpreted.
There's a longing for interior images
because there's so many exterior images
that that balance has changed.
Like in my generation, if you asked me like,
what did you look like as a child?
There's like four pictures that my parents framed
and they put on the wall,
and that's what I think I looked like.
You know, with my children, there's, you know, a day,
there's 70 pictures.
We have a really different sense of the image.
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During the pandemic, it was very hard to measure time.
For most of us, our serendipitous interaction
with people was cut down dramatically.
Those moments have emotional intensity.
What you were wearing, what it smelled like,
what it sounded like,
all of those things helped us mark time.
Art can show you how time is marked through emotion
like no other medium.
Because that's how we as human beings measure time.
I think when I'm on my deathbed,
I will think emotionally about the timeline of my life
and art is a thing that gives us this way of seeing that.
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