What drew you to using animatronics in your work, which is a really provocative, head-turning approach? So even though I had been trying to find a more affordable way of doing it, I kept coming back to them, and we ended up working together and it was a wonderful collaboration.
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But that didn’t come together because he got a big movie contract, and in any case everyone kept pointing me toward the same company, Spectral Motion-they had the reputation as being the best.
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I had done a lot of research on how to make an animatronic figure, and I was originally trying to collaborate with a person in England, who would have coordinated a team of people to build the animatronic as a independent contractor. The people you collaborated with on your animatronic piece are technicians who work at the absolute vanguard of CGI and Hollywood special effects, and they have even done some work with robotics for the military. I said I wanted to do this, to work with animatronics, and he said "go for it." I knew it was possible, but I didn’t have the financial resources to do it, and David viewed it as an investment in our collaboration.Ī view of the animatronic sculpture, Female Figure But then David and I clicked, and he asked me to join the gallery- it all went very quickly, and was all very positive-and he asked me what I wanted to do. So I told the gallery that I thought they were a great gallery, and that if they'd be interested in just doing a one-off show of the piece and not representing me that would be fine, and we could just see what it’s like working together. Then David wanted to include the work in a group show, but logistically it didn't seem right-the piece was going to come down early because Raymond Pettibon needed to use the space as a studio before his show-and I felt strongly about the artwork. Originally, I wanted to show Raspberry Poser in New York, and I had spoken to a few galleries that didn’t really follow up with me. Can you talk a little bit about how the show came about? Both of them deal with disjuncture, be it between images and affect, animation and reality, sex and death, and gender and sexuality. Your new show contains two very different pieces, one terrifying and one beautiful. Goldstein spoke to him via telephone as he was setting up a new show, a mini survey part of the Glasgow International Arts Festival, curated by Sarah McCory. To get some insight into the thinking behind this body of work, and the way the artist-a winner of the Frieze Foundation's Cartier Award and a participant in the 2006 Whitney Biennial-approaches his work, Artspace editor-in-chief Andrew M. Rounding out the show is a group of hybrid painting-sculptures plastered with odd bumper stickers and disquieting cartoon imagery. It's a good question.Īnother equally spellbinding component of the show is the 33-year-old artist's 2012 animated film Raspberry Poser, a looping 14-minute melange of Disney-style animation (of a chaotically violent redheaded child), CGI graphics (of a lyrical condom spilling out little red hearts, and of the HIV virus), still images from art history, live-action film (scenes of SoHo, luxury furnishings stores, kids' rooms, under-construction suburban houses, and a vignette of a cliché gutter punk in Paris, played by Wolfson), all tied together by a blaring soundtrack of Mazzy Star's "Fade Into You," Beyoncé's "Beautiful Nightmare," and Roy Orbison's "Only the Lonely." Watching the film is like a narcotized reverie brought on by an overindulgence in pop culture, followed by a queasy hangover of musings on mortality and the triteness of consumer desires.
"Is this the most terrifying robot ever?" asked London's Daily Mail. Occupying its own cavelike room in the gallery, which the viewer is encouraged to enter alone, this animatronic sculpture-a buxom blonde woman in a green witch's mask who dances to pop songs while facing a mirror, all the while using facial-recognition technology to follow your eyes-forms the headline-grabbing core of Jordan Wolfson's debut at the blue-chip Chelsea gallery.
There's an mesmerizing aberration at David Zwirner Gallery, a technological siren that, once it locks its fearsome eyes on you, will drag you deep into the Uncanny Valley and feast on your brain.
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