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Lot Essay
Change is the creative impulse. For instance, with the new Body Mixes, I combine several record covers in order to underscore that which we take for granted. The seductive covers are mutated into grotesque creatures. I point the figure at certain advertising methods, but I am also interested in a relation between physical and the mechanical. We have always tried to objects a human quality. We project on them a body scale, a texture, shape that resemble us. We give machines-or see in them-anthropomorphic qualities. The machine is an extension of the human body and the record is a mechanical object" (C. Marclay, in J. Seliger, 'Christian Marclay,' Journal of Contemporary Art, vol. 5, No. 1, Spring 1992, pp. 68).
"I've always used found objects, images and sounds, and collaged them together, and tried to create something new and different with what was available. To be totally original and start from scratch always seemed futile. I was always more interested in taking something that existed and was part of my surroundings, to cut it up, twist it, turn it into something different; appropriating it and making it mine through manipulations and juxtapositions" (C. Marclay, in J. Seliger, 'Christian Marclay,' Journal of Contemporary Art, vol. 5, No. 1, Spring 1992, pp. 66-67).
"I've always been interested in Duchamp and the idea of the ready-made and using mundane things. It didn't come from the appropriation strategy of the 1980s. In a way I think that when appropriation hit the art world, it was also very strong in the music world because of hip hop. That parallel interested me. Richard Prince and GrandMaster Flash were doing the same thing in the early eighties, but with different media" (C. Marclay, in J. Seliger, 'Christian Marclay,' Journal of Contemporary Art, vol. 5, No. 1, Spring 1992, p. 67).
"I've always used found objects, images and sounds, and collaged them together, and tried to create something new and different with what was available. To be totally original and start from scratch always seemed futile. I was always more interested in taking something that existed and was part of my surroundings, to cut it up, twist it, turn it into something different; appropriating it and making it mine through manipulations and juxtapositions" (C. Marclay, in J. Seliger, 'Christian Marclay,' Journal of Contemporary Art, vol. 5, No. 1, Spring 1992, pp. 66-67).
"I've always been interested in Duchamp and the idea of the ready-made and using mundane things. It didn't come from the appropriation strategy of the 1980s. In a way I think that when appropriation hit the art world, it was also very strong in the music world because of hip hop. That parallel interested me. Richard Prince and GrandMaster Flash were doing the same thing in the early eighties, but with different media" (C. Marclay, in J. Seliger, 'Christian Marclay,' Journal of Contemporary Art, vol. 5, No. 1, Spring 1992, p. 67).