Hermès: a haudenschild Garage project with MARK BRADFORD

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6.12.2013 conversation with Mark, Eloisa and Hermès

The haudenschild Garage, La Jolla, CA

I did not have a physical relationship with the space (neighbor’s house) until I came here today for the first time…So I started to see this disconnect between public and private space. Then I thought I’ll do some research on this site called Cam4 and what was interesting about it were the people using their webcams in a public way, performing very private acts. I started to take pictures of their places without them in it. In order for this to happen there had to be some interaction, like asking them if they could move off camera so I could take a picture of just their living room. They would get freaked out but when they would move off camera you could see their space. And then I thought about the neighbor who had been carrying out these public and private, very strange, psychological acts for a really long time. I started thinking about her private space and about interruptions, almost like a weird fissure. I thought I needed to do this hard-edged abstraction that cut through her private life – that interrupts it. So the line becomes a psychological and physical part of the space because I believe the neighbor was constantly being psychologically interrupted. Privately, she was one way and publicly, she was another way. Her mind was constantly interrupting itself in this weird kind of madness…so when I saw the line cutting across her refrigerator and lines cutting across her carpet, it felt like someone came into her private space…like a violation. When you see pictures of the line, it’s as if it cuts right across the glass. The line for me is the distortion or the fissure between her public and private lives – it’s like a crack. This woman was cracked…she was clearly two people. Her narrative was cracked and it’s almost as if her narratives constantly interrupted themselves. So I wanted to do something with that interruption and thought about what you can do in a home to interrupt that narrative. I thought the most violent thing I could do is simply to interrupt that narrative by cutting through and straight across the house so it starts to fragment. I started making the line at one end of the house and I didn’t lift my hand up as I went through the model Marcos made. The line was aggressive and her house had secrets, so in some ways I wanted to expose the aggressiveness and violence of her life…her meanness. It feels mean cutting across her house with the line…it’s like slashes that are cutting across the interior. When I saw pictures of the house it looked spooky to me. Even if I didn’t know the neighbor, I could tell I would feel uncomfortable inside the house…this is a real intense installation. I wouldn’t have thought to do a line but I kept thinking about the simplest, most minimal gesture I could make. I am a painter so I wanted to use that vocabulary…I could see how strong it could be.

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