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Jim Sanborn's cryptographic sculptures, pieces on atomic energy, and large-scale projections might already seem familiar. Installed in front of the CIA headquarters, the ciphers in his sculpture Kryptos have puzzled many a code-cracker (three out of four of the coded sections have been solved), and he has been the subject of several museum shows. The artist answered a few questions we had on his work via email:
There's often something hidden in plain sight in your work. In public installations like Kryptos (at the CIA plaza) and A Comma, A in Houston, among others (I'm thinking also of the Covert Obsolescence andArcheotranscription pieces), it's letters/word/code. How does written communication affect your work? Is there a background story that drives these pieces?
Prior to the Kryptos commission my work documented hidden or invisible natural forces, Earth’s magnetic field etc. For the Kryptos piece and for the 20 years since, the hidden forces/content in text and language have taken over.
For most of my life both of my parents worked at the Library of Congress, My father as the Director of Exhibitions and my mother as a photo researcher, this privileged access to the historic record was tremendously enabling. The texts I chose for my public projects were heavily researched at the L.C. and in these works in particular the International, Classical, and Native American texts were used to encourage collaboration among cultures to fully decipher. Like Kryptos, the other public works are designed to exude their information slowly.
The “background story” is either above, or resides in the following: The Archeological record offers us a frustratingly fragmented view of the past. Though fragmentary, this archeoview is pregnant with secrets yet to be discovered and is thrilling in its potential. Secrecy is power even if it is just a little something kept from view, buried, so to speak, in the matrix of everyday life...
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