A central theme in these theater experiments is the idea that art is most powerful as a social form of viewing, effecting what we do, how we do it, and how we interact with one another. Ultimately, looking at art is a very personal endeavor, but we often do so with others. Viewers and makers have in common their willingness to look critically, and to be a part of a larger conversation about the kinds of objects or experiences that we value, and why. As a regular part of my practice, I am documenting the documentation with a second camera. This attention to attention has become a regular part of my practice as I try to offer a forensic retracing of my steps.
In the Blue Box Theater project I am only marginally interested in forced perspective, the play on scale and size, and more with 'forced narrative.' How do these cramped and awkward settings manifest themselves in the work of the actors, and to what degree are viewers willing to suspend disbelief? It was about this time that I started using the term "Fake Studio" to describe my work. Although these moments take lots of planning, practice, and preparation- very little about them conforms to what we call "real." The interactions between myself and the other players however, namely my wife and children, are some of the most authentic and organic we have.
There is very little that is square about this square, and the circle is even less true. This is painted directly onto the butting corner of two flats, and the tape was adjusted accordingly to look square within the camera frame. The circle, if you watch closely, is much more of a stretched oval in real life Only through the camera lens and from a specific viewpoint does it appear circular.