Dario Roberto, Patsy Kline, Depression discussed on On Being with Krista Tippett
And I find this these kind of forgotten little charts, indicators of something deeper, happening and culture because I was wondering. What would the Dario Roberto of today? You might not grind vinyl records to me what would you do crying dead ipods dust or something Yeah No. No It's not the same. Yeah. But but I I suspect people will surprise us in how they saw answer this question in ways we don't know yet which I always I never worries me about this this question because. It's just too human to need do attach emotions to things and. A quick little anecdote, a tear ipod point that really floored me that happened recently. A group of students I was talking to. One of the students mentioned. That his father was had willed to him, his record collection and. How touchy was by and the other students were sort of making fun of them like you gotta carry that in life now, like they were thinking of it as a burden, a physical burden, the to carry records it in life and I had this impromptu thought I asked them has everybody had an ipod, of course, everybody raised their hand. And I said has everybody had several IPODS everybody raised their hands and I said how many of you could see a day when you will your ipod collection to your child nobody raise their hand. And it was so interesting instinctually they knew that seemed odd. And I don't know what to make of that. I'm just saying that. There's weird things like that. That will happen that I would be excited to see how we solve in the future. Whereas microphone. Your hand okay. 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 drop with million-year-old blossom. What did it feel like? Well. We'd like to know what it felt like to the water droplets. It's Being Articulate and then I stumble here because it's I. Don't know. There's still this area where I don't have quite the words for it sometimes. I prepped so long I looked so hard. So. Much time energy went into finding that raindrop and that blossom. And then the moment comes when they're together again and. It's I don't know I 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 this sensation that's hard for me to describe. So I'm sorry stumbling on that. Moment. Though where you brought them together I mean. Your idea was to bring them together again to. have. This question I like to ask about can art finish something that never got finished and. In this way, it was, could that drop finish hitting that blossom all these years later So that those manifestation of that question and that that questions propelled many artworks can art finish something that's never that never got finished the leads to these kinds of interactions. I'm cassette tape it, and this is on being today I'm with the artist philosopher Dario wrote auto we're taking questions from the audience. I think it's true that there's this common perception that art connects us with the. In a way that art is a self expression and so the kind of ideas it's a, it's a way to get inside the head. When I look at your work, and then I listened the way you describe it it feels like instead of connecting us with you, it connects us with other lives. and. Another way I was thinking about it is is when I've looked at your work. It's almost like walking into a natural history museum and that 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? To me, this is a fundamental 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. My relationship to those histories that I'm often referencing the work It the dynamics different it can't be about me I mean I making it I'm 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. Come on how can how can I even pretend to know? So so dancer you, I do try to taper out my voice in that way because the because the narrative I'm trying to talk about is what I want all the attention on. But then I made the object. Artists can never remove themselves totally from So it's it's not always possible 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. It really does because the site. Young. Artists that I work with the. Why should anybody care about your problem of? And when you make work about that problem and I think every artist should be hard themselves about that. and. 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 means but it was all of our experience and I mean, that's like this puzzle I'll always be trying to figure out. How you tap into the personal. But it's meant to be for the public. Interaction and in meaning. The microphone over here somewhere right here. You had mentioned earlier. Found intriguing and it. Just. KINDA got Calistoga. 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 that you are 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 that kilter that was causing that depression and had did that resolve? This is one of those topics were afraid to talk about. It shouldn't be at all and I really believe that. But 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 it was a constant. In life and I just didn't understand what it was and it has never gone away. If anything I'm an artist because. Partly I need it gives me away to harness it. To funnel it into something. That takes beyond my own problem as I was saying. But I didn't. When I left the room, it was still there and it just had a purpose. Didn't have before and I struggle every day to keep that purpose onsite. But there's nothing like. Reading a story of a civil war soldier carving their leg from scratch the will set you straight very quickly on your own personal depression. And I constantly looking for those narratives to help put things in perspective..