(0:46/315KB) | read
(1:07/461KB) | read
listen (0:40/275KB) |
listen (0:59/402KB) |
United States| listen
(0:57/393KB) | read
had a full teaching day. I had visitors from Russia who were coming
in to give a little talk and a demonstration in my painting studio.
And I was trying to be upbeat and cordial, and I was simultaneously
thinking, Do they know about this? How should I approach them? They
didn't speak English, so everything was going through a translator.
I was trying to ask the translator if they were aware of what had
taken place. And yet at the same time, in this parallel kind of
moving forward, doing your practical day-to-day stuff, I was trying
to engage them in a discussion about art-making.
And we just simply went back and forth between routine and then
stopping and trying to comprehend.
in fact, had a show in New York that was coming up within the month.
So, from September 11th, I began to re-think, not consciously, what
I would be showing October 5th in New York. I had this other piece
that I'd been playing with in the studio. It was a piece that was
about a void. And suddenly I began to realize that it was exactly
how I was relating to this immense loss. It was a loss of physical
structure, it was a loss of lives, it was a loss of our understanding
of our culture. But that loss had a shape. So the piece that I eventually
took to New York, was called The Fragile Void. And it became
a metaphor for me, in reflection, that we essentially are the container
of all our memories, of all of our losses, of all the voidsof
something that was there, and is not there now. We contain that
void and we remember that void. And by giving shape to it, we have
the choice of what to do with that. ||
was dreading it. I knew that that would happen. I had this awareness
of this really horrendous life that the people in Afghanistan had
been living, and at the same time, I knew that there was this dire
circumstance that I was in support of trying to rectify, and that
was of course the Taliban. I truly wish there was some way in which
we could have handled that without going in with violence and force.
I am thankful that the Taliban is no longer in power. Let's hope
that the violence that we had to take, the strong stand, was for,
in the end, a good purpose.
was not a new piece. I think its life really began in relationship
to the events of September 11th. It was in my studio. I had for
some reason, drawn it out into the space as I was working on The
Fragile Void. The painting itself was about the very fragile
relationship of tenuous circumstances. What I wanted to do was to
really give my painting up, in a way, to those lost people, and
that's how the piece really came about.
wonderful thing about art is that it becomes what it needs to become
when you need it. That's really important, because the art that
we create is a living thing. And it is very responsive, if
you allow it to be, to the now, because that's how art continually
lives. And it takes on the moment. That piece is special to me for
its ability to do that.
Very importantly, I think what it has done for me is that it has
heightened my awareness that I need to pay attention to how perceptions
are formed, what other perspectives are. I also need to be aware
that the world has changed from our point of view, but maybe it
hasn't changed so much for other people's point of view in the world.
So, there's a sense perhaps through this tragic event, that we are
more closely aligned with the tragedies of other nations and other
culturesthat we are in this small planet together.
very thankful to be an American. We do have our interests, and our
position in the world has been about securing those interests. But
I think also we're a generous people, and I hope that we can continue
to see the world as it is, and how fortunate we are, and to continue
to be giving.