c/o david zwirner
Dike Blair: You've described a trance state where you have out-of-body visions that inspire the work-could you expand on that?
John McCracken: That kind of thing-out-of-body experience and expanded seeing and all that-are, to my mind, attributes of advanced consciousness. It's in an environment, inhabited by beings of advanced consciousness and capabilities, where I try to imagine my works. I try to go to a place like that in my mind to make my works and then bring them back. I also think of my works as representations of that idea. I'm after a physical object that appears to be nonphysical, hallucinatory or holographic. Otherworldly, in other words. I want something that suggests the coexistence of more than one dimension or world at any given moment. So the work can exist physically, in our situation, or be imaginary in a dimension where imagination is real.
Nez d'Apollo Pap (Nose of Apollo Pap)
"The driving force behind these early works was Dubuffet's entirely novel and extraordinary painting technique. He combined almost any element with the paint surface, including cement, tar, gravel, leaves, silver foil, dust and even butterfly wings. In defence of this technique he stated that 'art should be born from the materials and, spiritually, should borrow its language from it. Each material has its own language so there is no need to make it serve a language.' Such an approach has drawn him into the field of sculpture, using materials gathered at first from beside Parisian railway lines; by the 1970s he was creating enormous architectural environments in concrete."