There's a number of things
that are changing, or rotting,
or growing when I'm not in here.
.
"Seed Stage" is a room within a room
of the Museum.
You approach the piece from
in the lobby gallery,
and it's visible through
four slits on the sides of the room.
And on the interior are a variety
of systems of storage, preservation,
tools for taking action on material
that is both inorganic
and organic material.
There's a wide variety of activities
ranging from actions that I take
on material using kitchen utensils,
to shop tools, to cooking devices.
So I have a stove, I have a printer,
I have a series of hot plates,
I have a toaster oven, I have a band saw,
bread oven, I have canning devices,
pressure cookers, and four cameras.
And all of those become tools in which
I think through the material processes
as they're happening,
both as I take action on material
but also as the material changes
on its own.
There's a number of systems down here
that I'm working with,
one of which is worm bins.
They are full of a combination
of compost, photographs and worms
that are digesting the two of them.
.
I've just pulled this parsnip
out of the root cellar,
and I'm going to make
a reproduction of it
before I cut it up to eat it.
So I use this color wheel
as a way of taking color off
to model reproductions of things
that I both photograph
and often replace the root vegetables
or vegetables that I put back.
So as I continue to use things,
sometimes I will either regrow them
or sometimes I will make
reproductions of them.
I'm constantly in conversation with action
as it happens in here,
and sometimes the action is geared
toward a photograph
and sometimes the photograph
is just a resulting record of the action.
So I want that question
when one's looking at the photographs
to be whether or not the photograph
is a product of prepared action
for the image, or whether the photograph
is a documentation of action
that was improvised.
I've created this space
with these four apertures
as ways of people
looking into an image in motion
and not having them
be physically relating to the space
but have them visually relate to it.
I think of myself as an actor
in a similar way
to the multiple other organic things
that are in states of change.
I was interested in having people
come in and watch me watch,
and so they have their own experience
of looking at the surroundings
of what I'm looking at,
at the same time that they can't
exactly see what I'm framing
on a moment-by-moment basis.
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