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Choreographing Experiences in Space: Olga Viso Interviews Jim Hodges, Part 2

originally posted on Hammer by Olga Viso
November 14, 2014

An extended version of this post originally appeared on the Walker Art Center’s blog in February 2014. Jim Hodges: Give More Than You Take is on view at the Hammer through January 18, 2015.

“I love sculpture,” Jim Hodges says. “Fundamentally, though, I am a ‘drawer.’ But I love spatial relationships and dimensionality. I’m interested in theatrical moments and choreographing experiences in space. I think as a drawer and make as a sculptor.” Over the course of three years, the artist and Walker Art Center executive director Olga Viso delved into Hodges’ life, artistic practice, and influences, touching on topics prevalent in his work, from love and politics to language, spirituality, and mortality. Excerpted from the exhibition catalogue Jim Hodges: Give More Than You Take, here’s a sampling from their discussions.


Olga Viso
After you traveled to India for the first time, in early 2011, you shared how affirming it was to be in a place where many of your own perspectives—in terms of how you look at the world, the lens through which you see and experience life, and make art—were echoed.

Jim Hodges
I felt so supported there, as if I had been in India all my life. I came to realize that I have been involved with and engaged in a kind of sensitivity, in a kind of attention to my world that felt parallel to what I experienced in India. Being there allowed me to reconnect with my thoughts and my practice, from which I had become detached. In New York I didn’t have that place of remove, that ability to step back from myself, that I had in India. There, I was thrown into the midst of a complex reality that I had never experienced, and my ways of thinking were being questioned. I liked this complexity and these questions that the place relentlessly raised.

What, specifically, was called into question?

The mirror that India held up to me demanded me to reevaluate so many things, starting from very simple things like crossing the street to more complicated issues, such as my relationship to currency and money and power. Deeper still were reflections on permanence and impermanence, creation, death and life, and undamental beliefs and spirituality. There is this spectrum of experience there, from the mundane to the very heavy.

What happened when you returned?

Read the story at Hammer

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