Writing my Life
In one of your works for dOCUMENTA (13), Escape Hatch to Culturefield, a locked trapdoor secluded in a wooden area emanates music by Charles Mingus. How would you talk about the role that sound plays in your practice?
Sound is like a tool or a material, but as the works i make are all very different with no real visible stylistic signature between them it pops its head up in my practice only when necessary, when a concept demands its use. I am far from a sound artist, in fact i am as much a children’s book writer, a cook, a fashion designer, a TV producer and an architect as i am a sound artist.
Can you say a few words about ‘Writing my life’, the work you will present during Helicotrema?
Writing my life is a very early work, it details the idea of mortality running around my brain as a young artist. The voice is of a friend and artist Aurelien Froment, he reads a script written by my accounting three differing understandings or perspectives on the idea of an obituary. My own Obituary which is of course a very difficult, if not impossible thing to achieve.
Can you say something about the relation between the sound and the still image in ‘Writing my life’?
The image is of a chair in a studio i had in East London in an old underground car park, when i was quite young, just starting out in making art. The chair is where i sat to write the script and its surroundings is the context for the realisation of the thoughts in the script. I like the idea that the work reveals something essentially boring about the artists life, a drab uneventful studio, that has been romanticised through the history art shown here in the cold light of day all its honesty.