Patsy Kline, Depression, Sergeant Peppers discussed on On Being with Krista Tippett


I really appreciate the way that you honor the spirit of your material that you're working with and. I like the way you've talked about memory. Particularly, I'm interested in memory of water and I was wondering what it felt like when you reunited that million-year-old water with million-year-old blossom. What did it feel like? It's just me. Well. We'd like to know what it felt like to the water. It's such. I think being articulated and then I stumble here because I don't know. There's still this area where I don't I don't have quite the words for it sometimes. I prep. So long I looked so hard. So much time energy went into finding raindrop and that blossom. And then the moment comes when they're together again and I. Don't know don't know how to explain it. I couldn't have done it as I mentioned earlier. What do I need to do to earn the respect of that material and all those things that I did to get to that moment Produce the sensation that's hard for me to describe So I'm sorry stumbling on that, was there actually a moment though where you brought them together I mean. The idea was to bring them together again to to. have. This question I like to ask about can finish something that never got finished and. In this way it was. Could that drop finish? Hitting that blossom. All, these years later so those. Manifestation of that question and that that questions propelled mini mini artworks can finish something that's never did never got finished. Leads to these kinds of interactions. Think, it's true that. There's this common perception that. That that art connects us with the artist in a way that it that is self expression, and so the kind of ideas it's a, it's a way to get inside the artists head. when I look at your work and then I listened the way you describe it. It. It feels like instead of connecting with you, it connects with other lives. And another way I was thinking about it is when I've looked at your work it it it's almost like walking into a natural history museum. I'm connecting with something else kind of bigger or other lives or something distant. How do you? How do you think about? The role of the self in the artwork do you consciously try to erase or cover up? It's to me it's this is a great. Question about because as most artist, we tap into our own history as a starting point. Many young artists do that and. Patsy Kline is we believe her because she's singing about her heartbreak and That's why counts. But my relationship to those histories that I'm often referencing the work. The dynamics different. It can't be about me. I mean I'm making it initiating it but. The point is not me. And I do try to taper out. Myself. As much as I can because it's not especially when we're talking about the suffering of war, I mean. Come on how can how can I even pretend to know a so so then he gets even more complicated when depending on the topic where I. Can't eve-, I would never even hint that I I'm suffering in some sense. When I'm talking about suffering at this mass level and but that's not to say there's not an emotional toll that comes with. The work definitely does, but that's not did what drives me to make the work. or It's not what drives me to make the work about. My own. The emotional. I'm may be experiencing in it so I tried to answer you I do try. To taper out. My voice. In that way because because the narrative I'm trying to talk about is what I want all the attention. But then I made the object. There's the artists can never remove themselves totally from it. So it's it's not always possible. So, yeah, there's a there's a conscious effort to do that but I would think that it must please you to hear someone describe your work that way. Your work connects our lives with other lives who really does because site every artist? Young artists that I work with the. Why should anybody care about your problem? And when you make work about that problem and I think every artist should be hard on themselves about that. That's why someone like Billie holiday or Patsy Kline have done this. They somehow solve this riddle of. Singing about their own experience, but it mean bid. Was All of our experience and I mean that's like this puzzle I'll always be trying to figure out. How do you tap into the personal? But it's meant to be for the public. Interaction and meaning. So I think artists should always be hard on themselves about. That the work doesn't just begin and end with their own problem. There are problems even if that's what can be the fuel sometimes. The microphone over here somewhere right Yeah So I was wondering is you always use a Grinding record or things of that nature do you always use sixties to modern era vinyl or have you ever used? Like the pre vinyl, seventy, eight material that's harder essentially immune to any sort of weathering and yet is also incredibly brittle and therefore it's interesting to see how it's been able to make it from. Nineteen Twenty S era America to Modern Day Yes, definitely and I can. I can I know the age of a record just by scraping it at this point because of I know the history of the materials being used. And you know. Advancing technology with politics and vinyl and SHELLAC. But yes, I have used those and. Probably, the oldest media I've US or seventy, eight but used. Sound that pre dates that Arab. But I. I'm a big historical sound buff. And pushing the boundary of the absolute earliest recording ever made. The birth of. The audio experience is something I feel very very well versed on and it's fascinating field the people who are trying to inch the line back in time. So I've used sounds that are much older but. As. A media the seventy S I have used. Wasn't there something about. The same year that the golden record was launched. The person died who created the first audio recording. The Sun cemetry there Oh never mind. How about you know? Whereas microphone? As your hand. You had mentioned earlier is something that I found intriguing and it just kinda got glossed over. Being, very badly depressed when you were younger and visiting Your Dad and having this experience in the room with. Hearing Sergeant Peppers and you came out and you were an artist. And it seemed like I guess the way my mind thought it was like well, that must also mean that you were very depressing. You came out of the woman you weren't depressed anymore I don't know if that resolves as quickly as becoming an artist, but I just was wondering if you could speak a little bit more on. What was out of kilter that was causing that depression and had that resolve This is one of those topics we're afraid to talk about and shouldn't be at all and I really believe that. It I hesitate because. It's related to the previous question where I don't what my work to be about that but clearly. When I look back. It was depression absolutely but I mean five years old. He was a constant. In life and I just didn't understand what it was. And it has never gone away if anything. You just learned how to harness it I guess and I wouldn't probably.

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