Finn Blythe: You made your first mirror pieces once you’d moved to New York in the early 1970s. What appealed to you then about working with reflection?
FB: Just like that old Duchamp quote about the work being completed by the viewer, these works require a live audience. In a sense that feels like the perfect message of defiance after the 18 months we’ve just had of virtual exhibitions. Your works really come alive once you’re nose to nose with them.
JK: I see reflection as tying to nature, tying to the glistening of light on the water and the sun. As soon as you’re tied to the sun you’re tied to the concept of time and a sense of almost endless time, but then the realisation that everything comes to an end – even the sun. I believe in biological memory, so just as we have intuition about things we have profound biological memory, like how our body has memory for the release of certain chemicals or how to create different organs.
JK: Well it’s to sustain something. I mean everything always comes down, mountains crumble to the sea. But it’s to be able to sustain that communication for as long as possible. I think there have been certain studies that people glance maybe an average of seven seconds at a painting or something close to that range. But it’s to be able for somebody to stay a little longer. I mean, each second you maintain their gaze they’re interacting with themselves.
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Source: Cosmopolitan UK - 🏆 134. / 51 Read more »
Source: Cosmopolitan UK - 🏆 134. / 51 Read more »
Source: Cosmopolitan UK - 🏆 134. / 51 Read more »