Art and architecture

for my presentation on wednesday i'll be talking about Rachel Whiteread and her work :)

Art and Architecture - Yin Xiuzhen

Portable City: Mebourne, 2009
Suitcase, used clothes, magnifying glass, map, sound, light
Courtesy the artist and Anna Schwartz Gallery

Portable City: Melbourne, 2009
Detail

Portable City: Jia yu Guan, 2009
Suitcase, used clothes, magnifying glass, map, sound, light
Courtesy the artist and Anna Schwartz Gallery

Portable City: Jia yu Guan, 2009
Detail

The Beijing-based artist Yin Xiuzhen's Portable City series fits into both themes of architecture and globalisation. Each piece resembling a major city, Xiuzhen incorporates used items (mainly clothes) to create these worlds within a suitcase, ready to be packed up and taken to a new place. There is a nomadic sensation within her practice, which engages with the differing environments and the memories of the artist's experience within each city. The 'suitcase architecture' is not functional, but it explores the personal impact that a major city can have on its inhabitants. I like this work because it brings together both the overly public and functional purpose of architecture and the unique experience that each individual has within the environment in which they live.

Art and Architecture Callum Morton

Callum Morton was born in Canada and moved to australia and spent the rest of his life at university. he is a bit of a hero when it comes to qualifications. He has studied architecture, painting, sculpture to name a few but more importantly his work is great! I can't explain why this is architecture apart from it just is. Maybe he is incorporating living spaces with art and he is working with the urban environment. I am very unfamiliar with architectural movements, I would be interested to know if he was associated with a particular style.

There is actually a wealth of architectural type artists at the moment it seems. Artists that use the walls and structures themselves.

http://www.roslynoxley9.com.au/artists/27/Callum_Morton/profile/

CONCERNING THE SPIRITUAL IN ART BY WASSILY KANDINSKY

To understand this text to its full potential, it was important to contextualise it; as it was stated in the beginning of the essay “Every work of art is a child of its age”. This was published at the cusp of modernism and when Wassily Kandinsky's first abstract painting was made. The ideals of this text stemmed from romanticism which was against the scientific explanation of the universe and what was clear to the naked eye did not necessarily summarise or represent a feeling or emotion.

Kandinsky goes on to say that artwork that is an attempt to emulate ideas “achieve only a similarity of form and remain soulless for all time” referencing the 'soul' of an art work. This entire introduction is based around the idea of a spiritual experience in relation to art steering away from the traditional anglo conceptions of a soul. Perhaps it may be more likened to the funky meaning of soul where something has a natural aura or attraction to it. Kandinsky on abstract art has similarities with ancient Chinese art critic Xie He, where the first of six guidelines for rating a painting is 'Spirit Resonance' which is the energy of the painting. This seems to be a less esoteric definition of the spirituality of art and is summarised as an overall energy of an artwork. This is an energy that is visible but not seen or described. Futurism and Romanticism and abstraction have many similarities and also quite contrasting. Kandinskys definition of abstraction speaks strongly about the future and progression and with clear aesthetic similarities depicting speed and movement.

It is hard to grasp the full impact of this text today because imagining contemporary art without abstraction seems to be impossible for me as I am simply 'a child of my age'. Kandinsky speaks abstraction as being a radical point of view where in current times it is hard to imagine contemporary art without abstraction.

The comparisons between contemporary abstraction and the modernists abstraction are still apparent but may not be making the same romantic statements. Although you can't completely detach spirituality from abstraction, today it sees like it is a language similar to the instrumental of a song where emotion can be induced without the use of words.

Art and Globalisation - Do-Ho Suh

Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home/L.A. Home, 1999
Silk, 149 x 240 x 240 inches
Installation view at the Korean Cultural Center, Los Angeles, 1999

Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home/L.A. Home, 1999
Silk, 149 x 240 x 240 inches
Installation view at the Seattle Asian Art Museum, Seattle, 2002

The Korean born artist Do-Ho Suh explores the theme of Globalisation through his practice, concerned with concepts of the individual and space. Many of his works defy conventional ideas of public space, such as his work Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home/L.A. Home, 1999, an ongoing piece that acquires the name of every city in which it is exhibited. The work speaks about displacement- the notion of moving from place to place and setting up a 'home' to temporarily occupy. Made out of fabric, the sculpture is easily transportable and reflects the artist's own experience of travel, living between countries and the issues surrounding individuality within a public, modern society.

Overview - Wolfgang Laib: Returning to What Is

Darren James Jorgensen’s interview with German artist Wolfgang Laib provides an insight into the artist’s unique and life long practice, and how through his work Laib inspires us to consider his use of materials and their placement within a new context. It seems as though the process as much as the final product is a crucial element in understanding the work’s intentions, as Laib discusses the profound experience in sourcing the material that will eventually become the basis for his work. Throughout the interview Laib talks about his practice in relation to the contemporary art scene, his influences, and his views surrounding the current art practices seen today as well as his beliefs about art’s potential to change the world.

Jorgensen presents us with an overview of the artists’ practice, which is immersed in the sourcing of organic materials such as bees’ wax, pollen and milk. By removing these materials from their original, natural setting and with them creating detailed, abstracted art forms, Laib is offering us the opportunity to appreciate their simplicity and pure form. The ephemeral quality of Laib’s works further highlight the meticulous and overpowering process undergone in order to retrieve these materials and replace them within a gallery space, where viewers are given room to respond. This repetitious and time-consuming procedure gives the viewer an indication of Laib’s personal experience with art, which he considers to be vital to understanding and experiencing life in a totally new way.

Whilst the interview comes across as light-hearted, Laib’s deep enthusiasm for the importance of art and its powerful influence on the world is felt. Through his practice Laib aspires to provoke change, in questioning our society and the morals and values by which we run our lives. These views become evident throughout the interview, as Laib declares his ‘non-European’ cultural influences and describes his workspace as being isolated from the art world, deriving his inspiration and knowledge from natural surroundings. Rather than engaging with art scenes surrounding the art world (as Laib stated in the interview his thoughts concerning the lack of originality seen within art practices today), Laib’s practice is embedded within his life, whereby each day is intended to inform his work. Within this philosophy stems the possibility for something new, with the intention for prescribing change.

Jorgensen’s interview was successful in displaying a personal account of the artist’s practice and beliefs about art, also providing useful images of three of Laib’s works, Pollen from Pine, 1999, Passageway-overgoing, 1996 and Ziggurat, 1999.

Spiritual Reality and ART

On Nicholas Zurbrugg and his Installation art article, my first thoughts were that the article was about honesty, refined to the search (endless and subjective) for the true essence. The article also seemed to be about the real and raw power that propels us to keep our art practice going. This was also true for Wolfgang Laib who further opinioned that the potential of an artist was as significant as a doctor.
The overview - Or as Zurbrugg puts it ‘what is worthy of consideration.
What is significant and active in a 2 D. picture or in a 3 D. object or installation has is a correlation.’ How important something is means interrogating a hierarchy of opinion. This is a reflexive concept that needs to factor in other people and there opinions. This is psychologically interesting ground from which may sprout new ideas or become poetically and artistically barren. A place where one may begin to explore any idea would be by making sure you respect others and by extension yourself. When we are talking Art it seems that boundaries including those of respect are explored.
Wassily Kandinsky and his ‘Concerning the spiritual in art’ text introduces English speakers to ‘the almost untranslatable’ stimmung as meaning sentiment, feeling and the essential spirit. The word, stimmung, is a key to his text and a connection to Douglas Kahns’ book Noise, Water, Meat. Kahns’ book uses the above Kandinsky text to illustrate ideas about music and sound (p106/7). Kandinsky is quoted as saying ‘music was a powerful model for non representation’ and that he developed ‘a notion of inner sound, a deeper and more pervasive vibrational being….’. These ideas indicate to me the same sense of impermanence that I started describing in my previous blog. Kahns’ study and understanding of the history of music and sound helps to make sense of the suggestion that Kandinsky circumvented imitation by conduits of cosmic vibrations behind apparent reality. I wonder if it would be possible to do this while also eating your favourite breakfast brand of breakfast cereal. Kahn also makes reference to a Kandinsky comment that ‘our hearing of colours is so precise..’. Although this seems a little of track it is why I have to allow each to their own spiritual reality because I’m not sure I can completely rule the idea of hearing colour. As you know we can feel sound and colour in various ways so the essence of our relational activities maybe seen, felt, tasted and heard.

Art & Architecture

Chris Burden

Born in Boston, Massachusetts 1946

Urban Light, 2008

Los Angeles County Museum of Art

Chris Burden was a key performance artist during the 70’s, I’m sure you all are vaguely aware at the very least, about the artist who asked his friend to shoot him in the arm. Well that was Burden, November 19, 1971, in Santa Ana, California.

“Shoot” survives in desultory black-and-white photographs with this description: “At 7:45 P.M. I was shot in the left arm by a friend. The bullet was a copper jacket .22 long rifle. My friend was standing about fifteen feet from me.” Why do such things? “I wanted to be taken seriously as an artist.”

So do we take Burden seriously? Or do we not? In consideration of Burden’s recent work “Urban Light” it is clear that some of his childish imagination remains. Urban Light is a permanent installation piece on the grounds of (the Los Angeles County Museum of Art) consisting of more than a hundred and forty handsomely restored antique lampposts.

Arrayed in ranks only centimeters apart, defying notions of space, especially public-space, the hundreds of lampposts make a bizarre yet beautiful sight.The courtyard where Urban Light is positioned, is open to the street and can be visited anytime night or day. The lamps turn on at dusk and remain lit until dawn, like any other street light in the city.

More info:

http://www.gagosian.com/artists/chris-burden/

http://www.newyorker.com/arts/critics/artworld/2007/05/14/070514craw_artworld_schjeldahl

Urban Light, 2005

Installation at Chris Burden's studio, Topanga, CA

Wolfang Laib: Returning to What Is

The article is essentially an interview by Darren James Jorgense and German artist Wolfang Laib. Which describes Laib’s understanding and opinion of “arts” function in the grand scheme of things, as well as Laib’s understanding and explanation of his own artistic practice.

Laib believes art that is, good art, can encompass more power than medicine. Laib feels that medicine can only go so far, it can only cure or aid the physical body. Whereas art exceeds the physical body and can influence not only the body but also the spiritual or psychological state of an individual. This is Liab’s reasoning as to why, he did not pursue his medical discipline and instead became an artist. It is clear that Laib is a true artist, as he adjusts his lifestyle to suit his practice.

Liab has repeatedly been characterized and referred as a nature artist, with minimalistic conceptual grounding by critics and scholars. However Laib sates in the interview, that neither of these are true of by any means intentional. Laib is considered to be a “nature artist” because his use of organic materials witch he uses (pollen, beeswax, and milk) and the ritualistic process that he conducts to collect these materials. Despite varied interpretation and categorisation of his artistic practice, Laib explains his intention as simply to alter and heighten perception. Much consideration and focus is placed upon “position and placement” within Laib’s practice, also the “individual qualities” of pure or singular material.

Laib’s work is created, to intensify our sensitivity of materials whether they are pollen, beeswax, or milk. Through displacing organic or pure materials, within the neutral environment of a gallery or museum Laib is removing all pre-existing connotations. The material is perceived singularly and its unique qualities that are normally overlooked are exposed. Within this practice Laib is interested in the audience’s observation, what it is they see within the material as each interpretation is different.

The closing ideas mentioned within the interview, expose Laib’s disappointment in contemporary art. That is the quick pass and popularisation of art as if it were a “fashion show”, whereby various stylistic approaches go in and out of fashion at a rapid pace. Laib believes that the function of art is to create something ‘new’ and ephemeral for society to experience, and he considers today’s rapid pace stopping artists to be able to achieve this.

Wolfgang Laib: returning to what is.

During the course of the interview with Darren James Jorgensen, Laib describes the unique way he views art and life.

The word naive is mentioned a number of times; how he believes people might view his work and how he was when he began his career in art. Phrases he uses such as " my life is my work, I have nothing else" seem so simple and yet insightful. This simplicity as well as notions that art "could change the world" are why Laib thinks his practice could be seen as naive. His casual conversational tone throughout the interview gives the reader a sense of his humble attitude.

Jorgensen questions the assumptions made regarding Laibs use of natural materials such as the idea that what he is engaging in by creating work out of natural materials such as beeswax and milk is environmental. Laib explains that above all his motive is to display the material as it is without the distractions of the environment which the materials normally exist in, which may alter the impression of the material. The questions addressing the preconceived notions of his work, its relation to spirituality, and his background help get to the core of what his art is about conceptually, aswell as giving insight to what Laib is like as a person.

Jorgensen asks Laib questions like what he thinks of the word artist, adopting Laibs inquisitive attitude toward art. Laib questions the contemporary art world, liking some of the work being produced to a 'fashion show' in that the pace of new types of art are changing rapidly in response to popular culture. During the interview he questions the art world so thoroughly it is as if he has no involvement in it, he wonders about the commercial feel aboriginal paintings take on when mass produced with acrylic paint. Jorgensen wraps all this up with his Perth exhibition that was taking place. Overall Jorgensen’s interview is informative and gives a strong sense of what it is Laib wants the viewer to see in his work.

Art and Architecture: Glow

This is the Glow Longue from GLOW: Forum of Light in Art and Architecture, an event in the Netherlands. I liked this piece, the bizarre, uneven, slightly squeezed bubble, just sitting amongst the trees. It almost resembles of snow globe, with the tiny city inside, and the light show makes it look alive. The interactivity made it even better, a fully immersive piece.
From the perspective inside it looks like much more of an enclosed atmospheren than you'd expect in a solid architectural structure, because of the need to keep it closed to ensure the bubble stays inflated. Also because of the flexible, translucent walls. With a house, you look for a door or window to escape, a balloon you need to burst out of.
Fun times by the look of it.

http://www.raumlabor.net/?p=1282

PLEASE NOTE: RESEARCH WEEK

Hi All,

Please note - next week is research week.

This means the Art & Globalisation will be presented on the same day as Art & Architecture as follows:
15th SEPT:

ART & Globalisation ART & Architecture

Kendall+Gwen+ Donald Karina+ Liz L+Rachel

If there is any confusion - please contact me.

In addition, those students who missed the Library Research class - please check your email as I have forwarded on the 'catch up' details.

A.

Kandinsky - Concerning Spirituality in Art

Introduction Overview

Kandinsky firstly establishes that each art has its own time and place, and its authenticity cannot be restored in any manner. Such efforts to reproduce a work, style or method of art practice would only be artificial and imitation. He describes the thoughts, feelings and lifestyles in any particular time can never be replicated and as such, the art that is produced from this time can never be true as to have the same intent. Kandinsky places an importance on the inner feelings driving the art period, and goes on to make an exception to the above.

A revival of the external situations which fostered the inner feelings of the former time can be achieved through a similarity of ‘inner tendency in the whole moral and spiritual atmosphere,’ of the ideals and response, and as such, the reproductions of a former period and thus current. While seeming to be a contradiction, it somehow draws a parallel.

Kandinsky quotes Schumann and Tolstoi’s opposing views on the underlying purpose of the artist - as enlightener and inspirer or merely practicer. There, forms a great tension between the materialistic nature of the world today and the indifference of the heart and soul of a man. He denounces ‘art for art’s sake as a ‘squandering of artistic power,’ as aimless and materialistic. Kandinsky believes that the artist should look toward the higher ideals and engage in the inner feeling, as the spiritual life to which art belongs, transcends the fluctuations of the ‘moment’ and proves to influence and create a ‘deep and powerful prophetic strength.’

Kandinsky implies that the materialistic side of the art world produces the more inhumane natures of man, and divides society and indeed the art world, into those who appreciate only the external beauty and those who strive further for the inner thought. Both forms of art are consequently derived from the present as all art takes into account the feelings of its own time and place. But the art which creates further movement of thought and aims for spiritual inner thought and purpose stands constant.

Art and Sprituality- Fabrizio Corneli.

DAS NOCHMAL 2007

Fabrizio Corneli.

permanent installation, alluminio, sunlight, lamp

To do with spirituality in art I feel that light is an important element as in James Turrells Crater. It's amazing that just a few simple shapes of metal attached to a wall can create such an elaborate picture.

Turrells Crater relates to Stonehenge but I realised it really reminds me of this passage tomb in Ireland called Newgrange. It was built so at the entrance theres a 'roofbox' where on the winter solstice every year at sunrise the light travels through the passage and hits the wall at the back of the tomb. It boggles me how they figured out how to make that work (5000 years ago) and that it still works! but it shows that light has always been used to represent spirituality.

http://www.newgrange.com/

impermanence

Impermanence is, i believe, an important concept that relates to both art and spirituality.
As i understand it, its key to the idea of making a fantastic sand mandala and then brushing it away. With art this impermanence allows new ideas(art) to be considered as part of the historical canon. Your personal art language is relevant because it is part of the 'nowness' of the world we live in. Styles of art will change to reflect human evolution although this can not necessarily be considered progress, but thats a idea for another time.
In my next blog I'm going to attempt to link spirituality to sound as it is impermanent in its natural environment, a lot like ideas.

Wolfgang Laib: Returning to what is.

The interview with Wolfgang provides a perception within his art practice, different materials he uses within his art making, the how and what that’s has helped him complete his following works through the process and materials. The interview also gives us an insight on his life times experiences within the art practice he chose to start and where it has lead him today.

Different processes of his practice include pollen, bees wax and milk all from nature. He talks about how important these different materials are in his practice as opposed to other materials. Wolfgang mentions he is interested in materials that he hasn’t created such as the above and how important it is to have chosen these materials within his work.

Further on he mentions how it was so important to him as it would be to any other artist to have the opportunity and open doors to show his work across many museums around the world. He goes further talking about spiritual aspects of himself as an artist. Mentioning his village where is from, the home how easy it is to have access to his materials due to where he lives Southern Germany and for the motivation it has impacted and the influences he has and got towards his practice.

He speaks about how his art practice reflects all upon his life experiences and still hasn’t changed up until now. Overall Wolfgang speaks of himself, his art practice, how he makes the works, materials he uses, his life times experiences that’s has driven him to be a successful artist today.

wolfgang laib: returning to what is

Darren jorgensen's interview with german artist wolfgang laib provides insight into laibs life, personal beliefs and artistic practise. Laib discusses with jorgensen the long process of his works, his philosophical approach to art making, originality and what laib believes is truthful art. Laib expresses great passion for overall artistic practise and demonstates his belief that art can be powerful enough to 'change the world'.

During the interview, its very clear that laib has a very strong connection with art and his works. Although his works are very simple and use minimal material, during the course of the interview laib explains the time consuming and laborious process that he undertakes to create his beautiful works (in particular the collection of the bee pollen). It is obvious that this process has become laibs everyday and his life "my life is my work, i have nothing else".

While Laibs materials reflect the natural environment in which he has grown up in, laib mentions various misunderstood interpretations of the concepts are based upon nature for the obvious choice of materials. Laib explains that he is interested in all materials that he did not create and taking them out of context.

jorgensen further mentions the obvious spirtual interpretations that can be taken from laibs work, while laib acknowledges this he also adds that his practise of his works is beyond the spirtual. He further explains that the process changes the idea of what a day is and ultimately what your life is about. Jorgensen also states in the abstract that some would consider minimalism to be the movement that enabled Laibs success. However, laib dettaches himself from the mainstream, and discusses originality and the importance of pushing different ideas to stand out amongst trends.

Overall, the interview is very informal which allows the reader personal insight into Laibs life, practise and to a small extent his mind and way of thinking.

LIBRARY TODAY (Tuesday)

See you all in the library at 2 for our research class!

Overview: Wolfgang Laib: Returning to What Is

The interview by Jorgensen gives an insight on Wolfgang Laib art practice and the truth of his work, that of it being his life and evoking his life. It is an intimate discussion on his art practice and how he naively- as Laib describes it- believes that art can change the world. He as an artist has a real utopian view on art, how if it is real good it can include everything in life and humanity, art, as he describes it is important. His art practice and his studio evoke this sense that it is his life’s work, it is incredibly methodical and engulfing in his day to day life, and his studio reflect on his work completely and is a big influence on his what he does for his studio is mostly glass and he lives in the middle of a landscape. As an overview the interview gives an intimate discussion with the artist, you could literally feel his presence when you read it, it is not detached rather it connects the audience with the artist and it gives his reading on his work, rather than an author or a journalist.

The interview introduces him as an artist being German and his early career beginning in the 1970’s and how he has been immensely successful since this time, it introduces the movements he was affiliated with and what people of said about his work and then discussed further with the man himself on his opinions of this. The interview begins with discussing the mediums he uses and why. He describes his work as having an abstract quality by taking materials of nature out of nature attaining purity. The pollen for example, is intensified and abstracted when it moves from the natural environment into the gallery. It is intense for you see the pollen away from the meadow and nature into artificial light making it about the pollen itself, which makes it also abstract for it is in an unnatural environment. He as an artist has been described as nature artist, and in this way, as his practice has been briefly described goes against this view for though he uses material of nature, his work is not about the environment its about the detachment of the materials environment- it is not about the meadows it is about the pollen itself.

The interview goes on further to discuss his views on the art world and his detachment from it; it also discusses his beliefs and why he became an artist. He is detached from the art world mainly because of his art practice and his studio, he was isolated from the beginning and his studio has remained constant throughout his practice, his studio being in the meadows of a small village of Southern Germany. He describes his studio as I said of being of big influence to his work “the windows go all around to the floor and you can just sit even while there is snow outside” it is involving but in the same way isolating him from the art world, but not from what he believes art to be which he stresses in the interview, for he believes art can change the world. This is the reason why he became an artist because he believes Art is the most important thing, because it can evoke everything in life (if it is good), it involves everything and is the now in society, and this way he challenges himself in his art to create good artwork.

In conclusion the interview is insightful and gives a personal account on Wolfgang Laib as an artist and provides the audience with an inside perspective on his art practise and his “thoughts on the function of art in the world”.

Overview: Wolfgang Laib: Returning to What Is

Darren James Jorgensen’s interview with German artist, Wolfgang Laib, entitled Returning to What Is provides an insight into Laib’s personal philosophy on his art and practice.

Jorgensen provides us with an overview of Laib’s work, which is embedded in the use of organic materials such as beeswax, milk and pollen. Simultaneously he probes out the motivations behind Laib’s practice, which is grounded in the rhetoric of abstract concepts like purity but also in the experience of process.

Having access to Laib’s direct transcribed voice allows readers a real sense of the artist behind the works. The often open-ended nature of Laib’s language in statements like “its about the pollen” or “how the milk is” provides a complete reflection of the simplicity of his works and his insistence on letting the materials speak for themselves. Both his language and his art allow their audiences to encode their own experiences when responding.

Jorgensen covers a number of the topical features of Laib’s work including the spiritual aspects of his practice, Laib’s connection to and understanding of the concept of art, his self-professed ‘non-european’ cultural influences and a description of his studio. He also goes into details of Laibs upcoming exhibition in Perth and queries his response to traditional indigenous Australian art practices in the contemporary art scene. It is interesting to note that again Laib’s primary focus is on materials, expressing concern over the move away from traditional natural paints to acrylics.

The article also includes a number of images of his work, including examples of his work with beeswax and pollen.

Overall, Jorgensen presents an insightful and personal account of the artists practice and beliefs about art.

Wolfgang Laib: Returning to What Is (overview)

This interview discusses with Laib his views on his practice, the art world and how he is viewed by his audiences. Laib appears to have a bold character, in that he is unafraid to refute comments made by others about his work, and although he believes he may be seen as naive, he does not waver in his opinion to satisfy others. The interview focuses mainly on his works; what his influences are and what the final pieces mean to him. He discusses how his works are often mistaken, or have ideas read into them that he would not necessarily apply, such as ideas of spirituality and nature as concept and comparisons to painting in style.

Laib maintains that his work is very indicative of himself. He states clearly that the work stems from his personal experiences; his previous work, his home, his physical space. (“My life is my work.”) He stated that studying medicine he had the same drive as now when creating art. He is confident in his abilities, and believes that art, including his own, has the ability to change the world. This suggests that his art, although set firmly in its personal origins, is very much directed to others for their ability of insight to then direct themselves.

Laib states that he prefers his works to be viewed in a gallery space, as they most often are. This appears to be due to a desire to obtain a neutral space. Explaining his choice of materials he refers to his purpose, to show the material as it is, without placement in its usual space. His practice involves isolating the material from its regular environment to allow a greater understanding of the material itself. As a social, cultural or spiritual reading, this seclusion from the restraints of the usual view opens up new interpretations on the nature of the material, why and what it is. Regardless of what it is meant to be, what might it actually have the potential to be?

A question during this interview uses the term ‘austerity’, which can be defined as severity. This could be viewed in his work, particularly in the strict, repetitive processes involved in the creation and exhibition of the final piece. The pollen is collected meticulously over a long period of time. The milkstones must be emptied of milk, cleaned and filled again for each viewing.A word frequently used by Laib in this interview is challenge. He refers to the challenge of himself as a creator, the challenge of other views of life and the challenge to change the world with his work. His work therefore seems to be about achievement. As a human being he is challenged every day and responds with a complex artistic practice centred on embracing life.