Actually, when I started making art I was more of a photographer, and then I gradually moved away from photography. In terms of how I approach images, or the lack of images, I want for the image to always be changing. Many of my colleagues and I talk about art in terms of cinema, and in a similar sense the discussion of Relational Aesthetics has to do with the idea that images are always present even if they are not apparent. So when we work, we think cinematically: we think about scenarios and certain moments - not about narrative.
I am wary about fixing the image partly because then the experience of the work also becomes fixed, and I always want the experience to be continuous and evolving based on the positions of the viewers, so that the viewers always bring their own constructions into the work. Each viewer approaches it differently and each walks away with a different memory.
But because the scenario is a kind of moving scene, there has to be some kind of frame, and so I use space, or architecture, or even just a piece of wood, as a kind of frame or platform for the scenario to happen. Now of course if you stood somewhere within that spatial relationship you could frame things and see pictures, but ideally I try not to fix things, and that has to do again with the relationship of the viewers to time and space and all these other questions which I think have been quite important and constantly recur in my work.
Actually, when I started making art I was more of a photographer, and then I gradually moved away from photography. In terms of how I approach images, or the lack of images, I want for the image to always be changing. Many of my colleagues and I talk about art in terms of cinema, and in a similar sense the discussion of Relational Aesthetics has to do with the idea that images are always present even if they are not apparent. So when we work, we think cinematically: we think about scenarios and certain moments - not about narrative.
I am wary about fixing the image partly because then the experience of the work also becomes fixed, and I always want the experience to be continuous and evolving based on the positions of the viewers, so that the viewers always bring their own constructions into the work. Each viewer approaches it differently and each walks away with a different memory.
But because the scenario is a kind of moving scene, there has to be some kind of frame, and so I use space, or architecture, or even just a piece of wood, as a kind of frame or platform for the scenario to happen. Now of course if you stood somewhere within that spatial relationship you could frame things and see pictures, but ideally I try not to fix things, and that has to do again with the relationship of the viewers to time and space and all these other questions which I think have been quite important and constantly recur in my work.
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Actually, when I started making art I was more of a photographer, and then I gradually moved away from photography. In terms of how I approach images, or the lack of images, I want for the image to always be changing. Many of my colleagues and I talk about art in terms of cinema, and in a similar sense the discussion of Relational Aesthetics has to do with the idea that images are always present even if they are not apparent. So when we work, we think cinematically: we think about scenarios and certain moments - not about narrative.
I am wary about fixing the image partly because then the experience of the work also becomes fixed, and I always want the experience to be continuous and evolving based on the positions of the viewers, so that the viewers always bring their own constructions into the work. Each viewer approaches it differently and each walks away with a different memory.
But because the scenario is a kind of moving scene, there has to be some kind of frame, and so I use space, or architecture, or even just a piece of wood, as a kind of frame or platform for the scenario to happen. Now of course if you stood somewhere within that spatial relationship you could frame things and see pictures, but ideally I try not to fix things,และที่ต้องทำอีกครั้งกับความสัมพันธ์ของผู้ชมในเวลาและพื้นที่และคำถามอื่น ๆทั้งหมดที่ฉันคิดว่าเป็นสิ่งสำคัญอย่างต่อเนื่องและเกิดขึ้นในงานของฉัน
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