answer to a question:
I began by thinking about the parameters of the space and ways of seeing territory. This is where I developed the title, I Am a Helicopter, Camera, Queen. I had a very formal reaction to the room itself and was thinking about 'making room', queering space, etc. Then my thoughts became dominated by the camera, which takes the place of the live audience, and to this I wanted to have a more hysterical reaction. I wanted the room to be full when the live stream opened, for a lot of people to look back on the one person 'on their own device' at home. So I developed the work in two parts with a transition in between, formal and hysterical. And here I use the word discompose- to build and then discompose the space, and then re-group outside the room I was given, to exceed the space, to take another form on another scale.
The visual score on the floor is a way of 'making room', the walls buttressed by language on the perimeter. Literally bringing vocabulary into the room, and also charting movement. The three slight strings pulled across the room just above head height are another (minimal, vernacular) way of marking scale and dividing space. They later get taken down and snipped to pieces and stuck to the camera lens- to dress-up the camera once we've let it into the room. And the newspapers as title cards... I liked the idea of having some really analog technology (what newspapers once were), mixed in with the other questions of distribution, technology, communication that I was throwing into the room. To me these also harken back to early video works and those histories.
And then 105 interesting people! This was what I could never account for, the dynamism of working with such a large group. Success in this regard is how the work was alive with the pleasure of being together, of having all made the choice to be in that room and try something. This touched me and is impactful and I can only hope that it translates to YouTube.