Can you talk a little bit about the relationship between designing products like clothing and creating immersive installation environments, both of which rely on the element of "social participation," which you've described as essential to your work?
An idea I have been throwing around for a while now is "any surface can be a painting?" That said, I left my clothing line behind in 2010 because I realize that it was not doing what I wanted it to do. The original idea for the clothing was that the audience wearing the clothes with my patterns on it would blend in with the immersive black-light installation. These installations usually have a live-musical component to it and the audience's movement to the music would create an active surface to the installation. I quite like this harmonious audio-visual experience when it does happen.
The idea of social participation is still really important in my work, although currently I am holding back and reconfiguring my strategies towards social participation.
I was really fortunate to spend quite a bit of time with Rirkrit Tiravanija over the past year and see him in action. He is a master at opening up a space in his work for the audience to experience and discover things for themselves and I am trying to incorporate some of that quality in my future pieces.
Much of your work concentrates on the depiction of movement for its own sake, divorced from the representation of objects in space. The affect is achieved using dense layers and bold colors. What influences these instances of abstraction?
If the world we see is a painting and everything is made from the same substance, then all you essentially see are different colors and shapes vibrating at different speed. I wanted my abstract ...