Artist Lecture #2 (Sculpture Department)
September 28, 2010
Miguel Palma
1) It looks like your pieces are sort of themed by year. For example, it looks like in 2006, you focused on issues of transportation whereas in 2007 there were a lot of architecture pieces and in 2009 there were pieces based off of scientific phenomena. Do you feel like one piece leads you into another piece? Or do you chose themes for your work each year?
2) Some of the themes of your pieces seem to carry two completely different meanings. "The Race" for example dealt with transportation, but was actually used as a piece to describe how the "artist" works. Do you tend to bring multiple concepts together through a single piece?
Favorite Quotes:
(Because of the language barrier, getting quotes was difficult, but here were my favorites:)
Three words:
Complex, detailed, and large-scale.
Most interesting fact about the artist:
A lot of his work deals with construction and deconstruction to show power of one thing over another. He likes to show these themes in ways that evoke "peace and stability." He is also extremely clever. Sometimes with the language differences it was hard to pick up on his whitty nature, but the best example of his humorous ways lays in his explanation of his safe sculpture. He was commissioned to make an art piece and given a large sum of money to create it. He put all the money in a large safe and sat the safe in the gallery. When the exhibit was over, he spent all the money and said he lost the sculpture in a move. I mean, who does that? And tells the audience about it?
Answer to the original questions:
The answer to my question about the organization of themes by year was not addressed, but it seemed pretty clear that there was no intention in organizing it that way versus another. For him, he said he works on many projects at the same time, and finishes when he finishes, so I think most likely one project led to another in a logical way. My second question about transportation was asked by another audience member and it seems that transportation is just an important issue to him and he tends to make work about pollution, etc.
Most compelling piece:
One of the most powerful pieces to me was the car that he created that had a canvas system attached to the back of the vehicle. The exhaust emissions created landscapes on the canvases as he drove. It was an impressive display of cleverness and effectiveness in proving pollution issues. As Palma put it, "I like low-budget special effects."
September 28, 2010
Miguel Palma
1) It looks like your pieces are sort of themed by year. For example, it looks like in 2006, you focused on issues of transportation whereas in 2007 there were a lot of architecture pieces and in 2009 there were pieces based off of scientific phenomena. Do you feel like one piece leads you into another piece? Or do you chose themes for your work each year?
2) Some of the themes of your pieces seem to carry two completely different meanings. "The Race" for example dealt with transportation, but was actually used as a piece to describe how the "artist" works. Do you tend to bring multiple concepts together through a single piece?
Favorite Quotes:
(Because of the language barrier, getting quotes was difficult, but here were my favorites:)
- "The vase became much more interesting in pieces. Then during the restoration, the pieces became rich."
- "The video is quiet nice. You just see a tsunami and people dying."
- "By keeping the worms alive, the piece pies. It's a nice metaphor for life, ya know."
- "It's supposed to have volume, but just imagine Japanese people and American people talking."
- "Did you take any drugs?" -Audience Member. "Yes." -Artist
Three words:
Complex, detailed, and large-scale.
Most interesting fact about the artist:
A lot of his work deals with construction and deconstruction to show power of one thing over another. He likes to show these themes in ways that evoke "peace and stability." He is also extremely clever. Sometimes with the language differences it was hard to pick up on his whitty nature, but the best example of his humorous ways lays in his explanation of his safe sculpture. He was commissioned to make an art piece and given a large sum of money to create it. He put all the money in a large safe and sat the safe in the gallery. When the exhibit was over, he spent all the money and said he lost the sculpture in a move. I mean, who does that? And tells the audience about it?
Answer to the original questions:
The answer to my question about the organization of themes by year was not addressed, but it seemed pretty clear that there was no intention in organizing it that way versus another. For him, he said he works on many projects at the same time, and finishes when he finishes, so I think most likely one project led to another in a logical way. My second question about transportation was asked by another audience member and it seems that transportation is just an important issue to him and he tends to make work about pollution, etc.
Most compelling piece:
One of the most powerful pieces to me was the car that he created that had a canvas system attached to the back of the vehicle. The exhaust emissions created landscapes on the canvases as he drove. It was an impressive display of cleverness and effectiveness in proving pollution issues. As Palma put it, "I like low-budget special effects."
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