Relations often invite
comparison, an idea
I learned from Agnes
Martin, who could
decline showing for
this reason. For me,
comparison, in this
case, is outweighed
by an augmentation,
where the access to
each artist’s work is
enhanced, by the
other’s, so many of
the issues, present
for each artist, shown
in a necessary com-
left open and blank.
When I focus my thinking, sometimes I slip out of normal time into a world with no clocks, as if in a time warp. In that frozen time, I begin a game of catch with the inspiration that comes from somewhere.
The sky throws me the ball; I throw it back to the sky.
The sky throws me the ball; I throw it back within myself.
The ball comes from within myself; I throw it back into myself.
The ball comes from within myself; I throw it back to the universe.
In any case, this game of catch isn’t with another person, but a conversation I have with myself, or a discussion with the universe. I gaze into the mirror, and become more conscious of myself and the world that spreads out infinitely around me.
Living in a countryside so rural that foxes wander about, I feel that eternity when it’s utterly dark outside, sometimes with the moon shining and the stars twinkling. Before I know it, the rock music blasting out of my stereo gets sucked away somewhere, and I hear only the voices of the animals and the sounds of the rain and wind.
To catch inspiration, I open my arms in my imagination, increasing the antenna’s sensitivity. The overwhelming solitude of those moments turns into pleasure, and lets me become one with the night. I pick up my brush before I lose that sensation, and have a conversation with the me that’s inside the picture.
In this city called New York, I will be presenting paintings, drawings, and sculptures born in these moments, along with ceramics I was so excited to create that it felt like a hobby. I hope that my inspiration reaches the audience.
The night, the sex, the wandering… and the need to photograph it all, not so much the perceived act but more like a simple exposure to common and even extreme experiences… It is an inseparable part of photographic practice, in a certain sense, to grasp at existence or risk, desire, the unconsciousness and chance, all of which continue to be essential elements. No moral posturing, no judgement, simply the principle of affirmation, necessary to explore certain universes, to go deep inside, without any care. A ride into photography to the vanishing point of orgasm and death.
I try to establish a state of nomadic worlds, partial and personal, systematic and instinctual, of physical spaces and emotions where I am fully an actor. I avoid defining beforehand, what I am about to photograph. The shots are taken randomly, according to chance meetings and circumstances. The choices made, considering all the possibilities, are subconscious. But the obsessions remain constant: the streets, fear, obscurity, and the sexual act…. Not to mention perhaps, in the end, the simple desire to exist.
Beyond the subject, the lost souls and the nocturnal drifting, the scenes of fellatio and of bodies in utter abandon, I seek to reveal some kind of break up through the mixture of bodies and feelings, to reveal fragments of society that escape from any analysis and instant visualization of the event, but nonetheless, are its principal elements.
I built up something by having disturbed something: destruction becomes construction. Action interrupts contemplation, as the means of accepting something among many given alternatives, for accepting nothing becomes chaos. A system became necessary: how else could I in a concentrated way find something of interest which lends itself to continuation? My systems are numerical concepts, which work in terms of progressions and/or reductions akin to musical themes with variations. In my work I try to expand and contract as far as possible between limits known and unknown. Generally, I couldn’t talk about limits I know. I only can say at times I feel closer to them, particularly while doing or after having done some conceptual series…. The most simple means for setting down my ideas and conceptions, numbers and words, are paper and pencil. I like the least pretentious and most humble means, for my ideas depend on themselves and not upon material; it is the very nature of ideas to be non-materialistic. Many variations exist in my work. There is consistent flexibility and changeability, evidencing the relentless flux of events.
Hamburg, 1968, as quoted in “Artists on Their Art,” Art International 12, no.4 (20 April 1968): 55.
photo credit: D. Lasagni
Considering the fact that I was born deaf, my learning process is shaped by American Sign Language interpreters, subtitles on television, written conversations on paper, emails, and text messages. These communication modes have often conveyed, filtered, and limited information, which naturally leads to a loss of content and a delay in communication. Thus, my understanding of reality is filtered, and potentially distorted. This is part of the core of my practice as an artist and I am now taking ownership of sounds after years of speech therapy. Instead of seeking for one’s approval to make “correct” sounds, I perform, vocalize, and/or visually translate them based on my perception.
As a visual and performance artist, it is always my intention to approach sound by constantly pushing it to a different level of physicality, and despite my complex relationship with Deaf culture, I attempt to translate sound while unlearning society’s views and etiquettes around it. Using my conceptual judgment and compromised understanding, I challenge and question its visual absence and sometime tactile presence. Fortunately, with today’s advanced technology such as computer programs and high bass speakers, I have been given alternative access to sound. It does not necessarily mean that it’s a mere substitute or replacement of sound.
White Tiger (Kenny)
Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation
Eureka Springs, Arkansas
In the United States, all living white tigers are the result of selective inbreeding to artificially create the genetic conditions that lead to white fur, ice-blue eyes and a pink nose. Kenny was born to a breeder in Bentonville, Arkansas on February 3, 1999. As a result of inbreeding, Kenny is mentally retarded and has significant physical limitations. Due to his deep-set nose, he has difficulty breathing and closing his jaw, his teeth are severely malformed and he limps from abnormal bone structure in his forearms. The three other tigers in Kenny’s litter are not considered to be quality white tigers as they are yellow-coated, cross-eyed, and knock-kneed.
Chromogenic print, 37-1/4 x 44-1/2 inches framed (94.6 x 113 cm), Edition of 7
[Taryn Simon provides expansive descriptions as part of many of her works. – eds.]