piano, flags, steel, archival boxes, shelves, trees, recorded sound
The lines and swirls of an even larger fingerprint have been sanded into the floor, figuratively revealing the previous life of the now-gallery space.
An old piano, rigged with an electronic eye to scan a large fingerprint, is flanked by shelves neatly stacked with unlabeled archival boxes.
The artist rejects the idea of the gallery as a neutral space. The space is lined with potted trees and unmounted green flags that lean against the walls below their brackets. Large cardboard shipping crates sit near the front door, piles of sawdust lie on the floor, and walls remain scuffed.
All at the Same Time interests me as a work that stays away from dependence on any psychological obsessiveness or the distortion with which so many artists choose to be associated. Also, I was reluctant to employ any systematic aesthetic routine designed to guide me or the audience in search of a central illuminating point. The desire for such a point is nostalgic and corrupts the need for inventiveness and significance. I like the idea that art and culture have nothing in common, that the first must stay independent from the other, which keeps on going thanks to the repetition of its own premises.
I enjoy the fact that time seems to run faster than I felt it did just a couple of years ago. I don’t mean that I feel fatigued or I am not doing very well. To the contrary, I feel rather happy and my health remains very good. Born in Poland, 1954, lives and works in Austin, Texas