sympathyfortheartgallery: They are about the inability to find suitable language that will express trauma. For instance, the girl in You Don’t Love Me…No amount of language is going to bring that guy back, no amount of language can actually represent or embody the mixture of hate, admonishment, resentment, loneliness that she’s feeling towards this guy, right? That’s what I’m interested in. The other thing I’m interested in is, and this applies to the Rorschach works too, is who is actually standing in front of the ink blot? It’s the viewer. With the texts works, it’s the viewer that reads the work. We attribute what we read to the girl, but it’s the viewer who says it. I’m interested in this triangulation; the viewer is always interpolated in the work. (via The Real and How to Find It: An Interview with Ken Lum « Army of YouTube)

Nov 11 -

sympathyfortheartgallery:

They are about the inability to find suitable language that will express trauma. For instance, the girl in You Don’t Love Me…No amount of language is going to bring that guy back, no amount of language can actually represent or embody the mixture of hate, admonishment, resentment, loneliness that she’s feeling towards this guy, right? That’s what I’m interested in. The other thing I’m interested in is, and this applies to the Rorschach works too, is who is actually standing in front of the ink blot? It’s the viewer. With the texts works, it’s the viewer that reads the work. We attribute what we read to the girl, but it’s the viewer who says it. I’m interested in this triangulation; the viewer is always interpolated in the work. (via The Real and How to Find It: An Interview with Ken Lum « Army of YouTube)

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TEXT WORK, SINCERITY, COMPILED BY BOYHOOD.TUMBLR.COM FOR MY BFA NOTES