Gillick Chapter 12

From Paradise

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S.R.: So my question is very easy. What is your ideal typical daily work as an artist?

L.G.: I'm not staying focussed on anything for particularly long. So it's to do with a lot of multiple positions. I'm changing every 20 minutes from one thing to the other. The ideal position would be to be writing something and planning something and projecting something and communicating something all on top of each other in a single period. This is the way I find the best to work basically. But it means it's a rather introverted practice. It's not collective, I'm doing it on my own. It's not very cinematic or terribly. It's rather inward-looking I think as a way of working and then it's punctuated by these kind of slightly aimless wanderings around to look at the projected site for something which I find much less productive than that kind of mental space of – I mean literally and metaphorically – this kind of mental space which I think is still... - I can feel an Adorno coming on. But this idea of thinking is very powerful as a thing to... - It can be a strong position, I think. You know I mean it's something. When that works well that's – as they say in America – that's the place you want to be I think.

S.R. Well, that were very nice closing words, I think.

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