I use a simple pen and a drafting film. Drifting film is usually used by architects. It’s very difficult to
com-bine nowadays because most architects use computer nowadays instead of drawing on a
piece of draft-ing film. It’s a sort of a mix between plastic and paper and there are different kinds of
drafting films around something more plastic than the other. The one that I use is very smooth,
translucent and the sensation of physically drawing on the paper is very enjoyable, it’s very sensual.
And it’s almost like draw-ing on skin. I love touching the paper although I shouldn’t. When I work
with material, for example a piece of paper, I would lay it on a table, look at it for the longest time,
walk around it before I make the first move, before I draw the first line because a piece of blank
paper or blank canvas for me is very in-timidating. And it is also almost like a love affair with your
material. You have to get to know your material before you dive in. You fantasize about what the
final image will be like on the paper. You know, there is little … I would say character, for example
with the pen. Different brands of pen and different pens will have different characters. You have to
learn to know in order to make the best use of it.
Performance ‒ it’s very hard to predict the outcome because the audience would be the material
itself. There are only a certain number of things that you can plan ahead. I can give you an example.
For ex-ample the parade that I did in 2013 for Art Basel Hong Kong: I orchestrated a performance for
a parade, curated by Arto Lindsay.
So, in the performance, I hired four actors who tried to prevent me from moving forward in the
parade. So, I got wine poured over me, I got garbage dumped over me, I was burnt by a cigarette, I
was slapped in the face. One particular scene which is interesting was a rape scene. A simulated
rape. During the parade the audience a very close to me and the actor. And during the rape scene,
everybody was out with their camera, with cell phones. And there were also journalists with their big
professional cameras taking pictures of the rape.
And I was very engaged with the performance but at the same time I have an idea of what people
are doing. They weren’t cheering on the performance or anything. But the fact that they were being
part of the performance right there and then, it reminded me of how paparazzi were taking
photographs of Princess Di’s car crash instead of helping her. And for me that was fascinating and
unexpected. So, when you talk about material, this is what I can think of for a performance.