WHAT’S THE SIGNIFICANCE OF THE MINIMAL MATERIALS YOU USED FOR YOUR SHADOW POETRY? Graffiti is inherently simple when it comes to language, so we wanted the work to reflect that. It was also important that we used the sun as our primary activator. We didn’t want to confuse the concept by adding too much complexity, so a minimalist approach made the most sense to us. HOW WAS YOUR EXPERIENCE WORKING WITH THE SUN AND NATURE’S OWN TIMESCALE? DID IT INFLUENCE THE WAY YOUR ART TURNED OUT? POSE ANY CHALLENGES? DID YOU LEARN ANYTHING ABOUT YOUR OWN RELATIONSHIP TO TIME AND WHAT YOU CAN OR CANNOT SEE OR CONTROL AS AN ARTIST AND HUMAN ON THIS PLANET? This is a wonderful question. Working with the sun’s rays was actually incredibly challenging! When we first came up with the concept for Solar Signs, we thought it would be so simple, but only after we got out in the field and started trying to execute these pieces did we realize how unpredictable nature actually is! In some cases we had to re-execute the video components multiple times to get it right. Clouds, rain, faulty letters and wrong angles all came into play. We learned a lot, but at times it really made us long for traditional art supplies. PART OF YOUR APRIL TAKEOVER IS YOUR PARTNERSHIP WITH NIGHT LIGHTS DENVER TO CREATE A LIGHT PROJECTION ART INSTALLATION OF SOLAR SIGNS ON THE CITY’S ICONIC DANIELS & FISHER TOWER. WORD IS YOUR GRANDMOTHER USED TO WORK IN THIS CLOCKTOWER. CAN YOU TELL US MORE ABOUT THAT? Yes. My family has roots in Denver and my grandmother worked at Daniels and 7 SUN/RAIN COMBINED PRINTS AS EVIDENCE OF MOLD PHOTOS BY CHRISTOPHER CHANG
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