Heap of Birds

Summary

The artist Edgar Heap of Birds discusses his sculpture '12 Trees', which represents a calendar and medicine wheel, symbolizing support for Native American endeavors. He explores themes of history, culture, and identity through his art, using natural forms like trees and incorporating text as a design element. The piece aims to educate and provoke thought about Native American history and contemporary issues, encouraging community engagement.

Takeaways

• 🎨 The artist's proposal for the Denver Art Museum involves creating 10 tree sculptures to represent the months of the year, inspired by the medicine wheel.
• 🌲 The trees in the artwork symbolize the importance of nature and the artist's connection to the land, with juniper trees from Oklahoma being particularly significant.
• 🔄 The concept of the tree with a fork represents strength and support, which the artist sees as a metaphor for supporting the endeavors of Native people.
• 📜 The artwork incorporates extensive research and history, aiming to educate viewers about the history of Native Americans, especially in Colorado.
• 🏞️ The location of the artwork in Denver, at the foothills of the mountains, holds cultural significance for Native Americans.
• 👥 The sculpture is intended to be interactive and communal, providing a space for people to gather and reflect.
• 📝 The use of text in the artwork serves as a design element, with the physical shape, sound, and rhythm of words being as important as their meaning.
• 🖋️ The artist's process involves distilling complex emotions and ideas into simple, powerful language, often using three or four words.
• 🌐 The artwork addresses broader humanitarian issues and is not limited to one culture or place, reflecting the artist's international perspective.
• 🔁 The sculpture is designed to be open-ended, suggesting a continuity of history and culture, and a space for future interactions.

Q & A

What was the original proposal for the Denver Art Museum?

The original proposal was to have 12 trees standing up, representing a calendar form of a medicine wheel.

Why did the artist decide to change the number of trees from 12 to 10?

The artist decided to make the circle have only 10 trees to represent the months of the year, rather than 12, to create a modern sculpture that is not an actual religious icon.

What is the significance of the juniper trees and prairie in the artist's work?

The juniper trees and prairie of Oklahoma have been a part of the artist's life and have become an archetypal form in his paintings, symbolizing a connection to the land and his experiences.

How does the artist relate the sharpness of the stones to art as a weapon for Native American rights?

The artist was struck by how sharp the stones were even after being cut a thousand years ago, and he found that actual art would be the weapon to use today to fight for Native American rights.

What does the artist mean when he says the trees with fork poles will exist as a support for all the endeavors of Native people?

The artist sees the forked trees as a metaphor for strength and support, suggesting that the sculpture will stand as a symbol of support for the ongoing efforts and struggles of Native people.

How does the artist view the life cycle of trees and how does it relate to human life?

The artist sees the life cycle of trees, particularly the changes in fall, as a representation of the human life cycle, moving from one physical state to another and affecting the emotional and psychological state of individuals.

What materials and techniques were used to create the standing trees for the sculpture?

The trees are 12 feet tall, made of wood, covered with rag paper, and have diagramming on the outside. The artist worked on them over a period of two to three years.

What historical events and impacts are addressed in the artwork?

The artwork addresses the history of Native Americans in Colorado, including the Sand Creek and Ouachita massacres, the imprisonment of Cheyenne leaders, and the impact of these events on the artist's family.

How does the artist use language and text in his artwork?

The artist uses text as a design element, considering the physical shape, sound, and rhythm of words. He believes that text can be a structure in the mind, a memory, and an expression, similar to other artistic elements like color and shape.

What is the role of public art according to the artist?

The artist believes public art has a responsibility to address the public and be inclusive, engaging viewers and prompting them to reflect on the message and history presented.

How does the artist describe the experience of people interacting with the sculpture?

The artist describes the sculpture as creating a safe, healing space that cradles people, encouraging interaction and conversation, and providing a sense of affirmation.

Outlines

00:00

🌳 Art as a Natural Expression

The artist discusses a proposal accepted by the Denver Art Museum for an installation called '12 Trees,' which represents a calendar form of a medicine wheel. The artist visited the medicine wheel in Wyoming for inspiration and decided to create a circle with only 10 trees to represent the months of the year. The trees in the artist's paintings, like the juniper trees and the prairies of Oklahoma, have become an archetypal form in his work. The artist connects his work to his personal experiences as a hunter and gardener, and the historical significance of the land. He sees art as a powerful tool for political expression and a means to support Native American rights, drawing a parallel between the sharp stones used by ancient hunters and the sharpness of art as a weapon today.

05:02

🏺 Historical Representation in Art

The artist describes the process of creating 12-foot-tall standing trees made of wood and covered with rag paper for an art installation. Each tree is covered with editorial diagrams that took two to three years to establish. The intention of the piece is to represent Native Americans in Colorado and America, and to present history in a more open and factual way. The artist discusses the impact of historical events such as the Sand Creek and Ouachita massacres on his family and the Cheyenne Nation. The artwork incorporates themes of history, culture, and personal experiences, including the use of images from Fort Marion and the magpie, which has personal and cultural significance. The artist aims to create a piece that is both a modern art piece and a captivating formal element, encouraging viewers to engage with the extensive research and history presented.

10:03

🎨 The Creative Process and Cultural Reflection

The artist talks about the creative process behind the '12 Trees' installation, emphasizing the importance of finding a rhythm in the forms to express himself. He discusses the diverse nature of his artistic approach, which includes painting, drawing, printmaking, writing, and teaching. The artist sees text as another design element, valuing the physical shape and sound of words. He describes how he uses language in his artwork, often distilling complex emotions into a few words. The artist reflects on his life experiences and how they inform his art, suggesting that an artist's work is a reflection of their life and experiences.

15:06

📜 Language and Art in Cultural Expression

The artist explores the use of language in art, particularly in the context of his '12 Trees' installation. He discusses the inversion of letters as a way to make viewers think about the sound of words and how it can encode meaning. The artist reflects on the economy of language and its rhythm, drawing parallels to concrete poetry and Haiku. He also talks about the physical manifestation of words in his art, treating them as sculptural elements. The artist sees public art as having a responsibility to address the public and to be inclusive of many peoples' stories, not just his own.

20:08

🌐 Broadening the Scope of Native American Art

The artist discusses the evolution of the '12 Trees' project, from standing tablets to a more natural representation of trees, inspired by a visit to a medicine wheel in Wyoming. He explains the decision to represent the months of the year with 10 trees instead of 12. The artist sees the installation as a significant piece that belongs in Denver due to its cultural and geographical significance. He also talks about his work as addressing broader humanitarian issues and having a universal message beyond Native American culture. The artist reflects on the installation as a component that supports and engages with the community, offering a space for interaction and reflection.

25:11

🌟 The Impact of Art and Cultural Relevance

The artist concludes by emphasizing the importance of art in reflecting on life and how it can be made from both positive and negative experiences. He sees the '12 Trees' installation as a space that cradles and affirms people, offering a sense of healing and safety. The artist is thankful for the opportunity to create art that can engage with and support the community. He also discusses his role in opening up debates on contemporary cultural affairs, suggesting that art can play a crucial role in cultural reflection and understanding.

Keywords

💡Medicine Wheel

A Medicine Wheel is a sacred and ceremonial structure used by some Native American cultures, often representing the cycle of life, the seasons, and the interconnectedness of all things. In the script, the artist references the Medicine Wheel in Wyoming and decides to create a circle with 10 trees instead of 12 to represent the months of the year, symbolizing a modern interpretation of this traditional concept.

💡Native American Rights

Native American Rights refer to the efforts to protect and advocate for the civil rights, sovereignty, and well-being of Native American peoples. The artist discusses how art can be a powerful tool in the fight for Native American rights, drawing a parallel between the sharpness of stones used by ancient hunters and the sharpness of art as a means of expression and advocacy.

💡Prairie

The Prairie is a treeless or nearly treeless grassland ecosystem found in parts of North America. The artist reflects on the significance of finding small forests in the Prairie, which are rare and thus hold a special place in his artwork. The trees of the Prairie, like the juniper, become an 'archetypal form' in his art, representing the land's influence on his creative expression.

💡Art as a Weapon

The concept of 'Art as a Weapon' is explored as the artist contemplates how to make art with a political impact. He concludes that art can be as sharp and effective as the stones used by ancient hunters, suggesting that creating art is a proactive way to fight for Native American rights and to engage with political issues.

💡Life Cycle

The Life Cycle is the series of changes that an organism undergoes during its lifetime. The artist sees trees as representing not only their own existence over time but also as a metaphor for the life cycle of individuals, with the changing seasons symbolizing the transition from one physical state to another, affecting emotional and psychological states.

💡Fork in the Tree

A 'Fork in the Tree' refers to the branching or dividing point of a tree's trunk. For the artist, this natural form is significant as it provides a strong place to support things, symbolizing the potential for the sculpture to support the endeavors of Native people. The forked trees in the sculpture are intended to be a metaphorical support structure.

💡Fort Marion

Fort Marion was a site where Native American leaders were imprisoned following conflicts with the U.S. military. The artist's family was impacted by the events at Fort Marion, and he references artwork created there by his relatives. This history influences his artwork, particularly in the final tree of the sculpture where magpies fly, symbolizing freedom and the resilience of Native American culture.

💡Public Art

Public Art refers to artwork that is displayed in public spaces and is accessible to all. The artist discusses the responsibility of public art to address the public and how his sculpture is intended to engage viewers, provoke thought, and reflect on the history and struggles of Native American communities.

💡Cheyenne Nation

The Cheyenne Nation refers to the indigenous people of the Great Plains and their cultural practices. The artist's work is influenced by Cheyenne traditions, and he mentions current ceremonial practices within the Cheyenne Nation as part of the inspiration for the sculpture's design.

💡Contemporary Cultural Affairs

Contemporary Cultural Affairs involve current discussions and debates about culture and society. The artist, Edgar, is noted for being at the forefront of these discussions, using his artwork to engage with broader issues of humanity and to reflect on how one lives and interacts with the world.

💡Solstice

The Solstice is an event that occurs twice each year when the sun is at either its highest or lowest point in the sky, leading to the longest day and the shortest day of the year, respectively. The artist mentions that the sculpture may have a healing and affirming presence, similar to how many cultures observe the solstice as a time of reflection and renewal.

Highlights

Proposal accepted by Denver Art Museum for a sculpture representing a calendar form medicine wheel.

Artist visited the medicine wheel in Wyoming for inspiration.

Decision to have 10 trees instead of 12 to represent the months of the year.

Trees in the artist's paintings symbolize the prairies of Oklahoma.

Artist's personal connection to the land and hunting as a child influencing his work.

Revelation that art can be a powerful tool for political expression.

Concept of the wheel as a support for Native American endeavors.

Trees representing life cycles and emotional states.

Description of the physical creation process of the sculpture.

Intention to represent Native people in Colorado and America.

Historical context of Native American struggles and massacres.

Artist's family history and its influence on the artwork.

Use of language and text as a design element in the artwork.

Public art's responsibility to address the public and community.

The sculpture's potential as a site for community engagement and interaction.

Artist's approach to creating a rhythm in the forms of the trees.

The significance of the medicine wheel and its cultural importance.

The sculpture as a modern art piece with a captivating formal element.

The artist's diverse approach to art, including painting, drawing, and writing.

The importance of reflecting on one's life to create art.

The sculpture's potential to be a healing and affirming space for visitors.

Transcripts

thank you our proposal was accepted by

the Denver Art Museum to have 12 Trees

standing up that might kind of represent

kind of a calendar form medicine wheel

and went up and visited the medicine

wheel in Wyoming a couple of times

but I've decided to make my circle have

only 10 trees rather than 12 that

represent the month of the year so we're

not really

creating a an actual religious uh

icon you know we're making art we're

making a modern sculpture

and then this the trees are in my

paintings you know the trees the juniper

trees and the Prairie of Oklahoma have

been in my pain and continue to be part

of that language I I look at

the Prairie uh the small trees we do

have are remarkable because the Prairie

is treeless really you know so when you

find the the small Forest you're always

thankful

those kind of shapes

became an archetypal form for me and I

and it crept into my work although it

was subliminal I didn't know that I was

doing that

I was here

um

as a little boy

on this land and discovered

how to live I became a hunter

had a big Garden I'd give potatoes away

to everybody

you know so we learned how to live that

way

it's in my paintings certainly you know

came from this land and like there's a

rock right here you know there's there's

some Cut Rock

right in this area from hunters from

over a thousand years ago would hike up

the same Canyon and they would stop and

rest and they would make flint uh while

they were here waiting and um

and I had a real uh Revelation in the

sense

in this spot because I was considering

how to fight for

Native American rights and how to make

art in a political vein and what would

be the weapon

of choice today and I was struck by how

sharp these stones still are even if

they were cut a thousand years ago

and left here and and I found that

actual art would be the weapon to use

today

you know to fight for native people

so it gave me a whole perspective on

political art

from sitting right here and hunting and

have my gun in my hand but knowing that

a gun can't really safely

Propel me but I can make art in a very

proactive way

and and be as sharp as these stones that

are here so

I really feel strongly about presenting

this natural tree form that grows with a

fork in it in a natural way and you know

that if you cut the tree in a fork form

you have a very strong place to support

anything that you want to support So

conceptually for me uh the wheel being

10 standing trees with fork poles will

exist as a support for all the Endeavors

of native people

I I think that when Edgar approaches the

idea of tree and the forks that happen

in trees

I for me what I see in my own personal

experience of trees is that they they

represent

not only in existence over time

but they also represent an existence of

one's life cycle in the fall as the

leaves begin to change color and

and the tree returns to its singular

shape and form

that in a real sense represents a life

cycle it really does move from one

physical state to another

which affects the emotional and

psychological state of the individual

and

again in a sense I really reborn so

that's how I see the tree

foreign

scale standing trees they're 12 feet

tall and they're made of wood and

they're covered with rag paper and then

I do the diagramming of all the the

editorial on the outside you know and

I've I've established these uh over like

a two three year periods so

um but it's been really really effective

for me to have that in the studio to

look at them and to move them around and

turn them and have them relate to each

other as they will in a circle

the intention of the piece was to uh I

guess firstly represent native people in

Colorado represent

native people I guess in America it

could be another idea and to look at

history in a more

open way more

factual way maybe even with an editorial

from me as a shining rapid person but to

try to uh expand the knowledge base that

we all have about the history of native

people particularly in Colorado which is

a very explosive kind of inflammatory

location in the world for native people

afraid

and storage of 1833

tribes are still recovering from the

massacres and from losing their land

they're hunting their leadership

the massacre at sign Creek and later the

massacre at Ouachita

in Oklahoma and territory led to the

Sean rappo

tribal leader particularly Cheyenne

leaders being taken as hostages and put

in prison in Florida

and my family was very heavily impacted

by Fort Mary and my My Father Charles

heap of birds his father got heap of

birds his father black wolf heap of

birds then his father

mini magpies Chief many magpies he was

in prison and for a Marion and actually

my name hockey Avi Little Chief the

first man that had that name was also in

Fort Marion he was in prison after the

Washington Massacre so all that kind of

comes down to me and so in a sense I

feel like I have this ownership on one

level of some of the artwork that was

done in prison by my relatives

so I've been using those images from

Fort Marion kind of from my family and

then the magpie is actually from a

drawing that was done in prison too and

my name heap of birds which translated

versus mini magpies and that goes into

the final tree that has all the magpies

flying

and I bring it back out it's because

they were the best people to observe

that transition and that kind of

crushing pressure of the colonial power

in America on the Cheyenne Nation

so it has kind of two major roles in

that it's a modern art piece but it's

it'll have a pretty captivating formal

element being 10 standing 12 foot trees

in a circle and you'll see that from far

away but I think the next element with

the piece is the extensive research and

history that's evident being presented

in the piece so you can actually sit and

read the sculpture in a program for

hours and and try to understand the

history

is reminding us of our histories what

how we came to be

where we are now but at the same time

he's also saying we don't want to repeat

history

when you repeat history

you're in the same place you no longer

have grown and what he's saying is that

this that this particular contemporary

Society has grown to the point where we

need to begin to actively be

uh involved with each other because

our survival is really dependent upon

that as as human beings

we also wanted a piece that was very

intellectually appropriate for the site

here in Denver in Colorado we knew that

he looked at American policy and

American history vis-a-vis Indian people

from a very totally different

perspective than what most people had

viewed in the past

well I think the work is really from my

standpoint is effective because

it may appear to be confrontational from

the very beginning but on the other hand

you know when we begin to look into the

the levels of the work we I think will

arrive at a greater understanding of

what the artist was talking about the

artist is really talking about in in the

real sense the building of a particular

kind of community

our job as a viewer is to go and say

what is the artist talking about what is

he saying it's incumbent upon the viewer

to become involved and say is there

something in here that is that I can

learn

from or about

the truth this company is very complex

in in many good ways that every tree has

a theme you know so there was a broad uh

thematic sketch for in 10 pieces but

every time I got to a tree I built and I

built the trees separately each one was

a was a separate kind of activity and I

would draw on the outside of the model

and so on

and I guess what the artist is always

trying to do is to find

like the value or the the constant or

the the methodology in a form or a

process and and it takes a while to do

that and that's why the trees and for

the Denver Art Museum

have been sitting in the studio for four

years and I'm trying to find

that rhythm of those forms so I can

actually

express myself through those things

um but there was enough time with like

the five or six years that I could

interject new ideas I had you know about

culture and history in the the next tree

and it wasn't in a in a in a

chronological order I just jumped around

with the themes I felt strongest about I

finished one tree and move on to the

next one uh so I was able to interject a

lot of new ideas too but I'm as an

artist I'm very uh diverse in my

Approach you know I'm making paintings

that are abstract and kind of

celebratory I'm making diuristic

drawings about love or making mono

monotypes about relationships prints uh

you know I'm doing I'm writing essays

I'm teaching I don't know you probably

had it going on in his mind

um these are all

phrases that I've been working on and

just kind of part of the Diary kind of

thing so these are all

um

kind of descriptions of

events or people or

uh I guess incidences

lately

and then I come I come in the studio and

write them down and pin them up and

and I kind of think about reflect on

on what this was what these things were

and

I think your life has to be

um

available to you or you need to have

some kind of existence that you can

reflect upon to make art

and if you can't reflect on your life

you can't make any art you know so so

what is this place here this is the

north family allotment whether it's good

or bad you know if you have things you

can that are remarkable

you can make art out of that

and so they're all rappahoe people

um from 1860 or so

and my mother's Arapahoe so

it's her her family

her mother was Nora North

so they're all buried here all the North

that you have a you know your own

thoughts your own experiences you log

them in you might have a notebook or

scratches of paper and napkin

and you write some couple of words down

and then kind of hold them with you and

then I come in and I would put them on

the wall so I really I really appreciate

that the structure of the drawings and

how language can become a structure

a structure in your mind a memory

um an expression but also a picture

for me text is another element like a

design element

um and just in the physical shape of it

too you know it's almost like when a

poet uses words because of how they

sound imagine for the meaning they may

just like the sound of a phrase and so I

do that all the time too I pick a word

because I like the sound that makes in

my ear so it's sort of a texture behind

language a shape a weight you know a

speed of language too I mean color has

speed too there's like yellows really

fast and whites real fast and brown slow

and so an artist will know how to handle

all those elements and so a lot of the

text I use is just from kind of almost a

formal way of handling it too

Edgar had done this piece

um on the Indian Massacre and it was

like this text and you know like sort of

inverting some of the letters

and it when I saw it on the wall it says

it reminded me of concrete poetry and

sort of tone poems and there was

something about the inversion of the

letter then that made you think about

what the sound of the word was and then

what the sound of the word would be if

you inverted it and also the way that

you could

um encode meaning in the most basic way

just by flipping things over because

people tend to come to an art gallery

and even if it's a piece just made up of

letters they'll relate to the color and

they'll relate to the design and they

probably wouldn't even pay all that much

attention to what was being said but

there was a way I Edgar grabbed you

there was no way you could avoid it

because he used different colors in the

lettering and the language was so simple

it was like Haiku you know in in that

sense

and you know as I got to know him and

um got to know a lot about you know much

more about you know various Native

American cultures I realized it was

something very the economy was also

about the way the you know that the

language would have been in the kind of

Rhythm the staccato Rhythm that you

would have in the language

I've sort of I guess this by

happenstance established a methodology

to distill

um

I guess big emotions into three words or

so anyway

um I discussed that in the tree in the

sculpture but it comes into three three

or four words

a good artist in a sense works with

everything

in the same way you know whether it's a

sound or a shape or a color a letter you

know the weight of a sculpture the

height of a sculpture words are a

physical

manifestation in terms of the letters

you know they they're they're they're

like a sculptural element or a color

Edgar Rose to the occasion from the

moment we begin to see his concepts of

what this Monument could be and he has

realized that I think in the most

dramatic and dynamic way both as a

formal work of art and the ten totems

that create this medicine wheel and the

language that is written on it that

really engages The Visitor and then as

you move through those 10 totems and you

begin to look at the writing the

graffiti that's on them you are reminded

of so many incidences or facts in the

history of Native American communities

and the struggles that they have had

since the arrival of European settlers

Edgar has created a great work of art

but he's also created a very engaging

piece of sculpture which I think fits

all the criteria being an outstanding

piece of public art

I think public art has a responsibility

to address the public you know it's not

my studio art is more personal you know

my drawings are like poems or graffiti

messages my paintings or like trees and

water and fish but more abstract so

those are more personal and kind of more

closed in the sense of being just about

me and my vision whereas this sculpture

is adheres much more to a broad

Community you know beginning with like

Anasazi you know very old uh traditional

life

Cliff Dwellings petroglyphs and then

coming up to Youth Nation shine

replenation Wounded Knee massacres that

happened in this area of the world so

the whole scope of the work is very

inclusive of many peoples and it's not

just my my story

then he also in bringing all of his

understanding of Native American culture

and some of the major issues relating to

Native American culture he took that

site made it his own and really the

sculpture and the site then become one

as he has married so many traditional

aspects of the medicine wheel summer

solstice and all of those issues into a

very dramatic way

started out you know um

project wheel was actually standing

tablets where it had language on either

side native language and English

language kind of duality

and then I was there doing a site visit

in Denver and actually found a tree in

the front of their Museum area about two

in the morning and it was a big tree

with a big fork in it and then that was

the moment that I sort of realized we

should make like 10 or 12 Trees rather

than have them be kind of post-modernist

tablets standing up we should have them

be more natural to have say 12 of those

that might kind of

um represent kind of a calendar form

medicine wheel that kind of remembrance

of the seasons and the cycle of life

and went up and visited the medicine

wheel in Wyoming a couple of times and

so we've come to this uh

realization of creating ten trees you

know which is another uh evolution of

the project it was based on a medicine

wheel and some current ceremonial

practice uh in the Cheyenne Nation but

I've decided to make my uh Circle have

only 10 trees rather than 12 that

represent the months of the year so

we're not really

creating a an actual religious uh

icon or or tool instrument you know

we're making art we're making a modern

sculpture

the wheel is is a very significant piece

and I think it belongs here in Denver

mainly because it's at the foothills of

the mountains

and the mountains have always been

thought of as very important

to the culture of the Native American

many of the people on the Plains and in

the southwest always went to the

mountains

because

those felt that

these are sacred sites in the sense that

this is where they were able to

not only Ascend but to recreate

themselves in a real positive sense it

allowed them to become who they were and

reinforced who they who they are and who

they were to become

Edgar is an artist of international

recognition today he works throughout

the world

and while he certainly has roots here

and is Native American Edgar's

addressing issues that really are

broader in terms of of the humanities

and issues that relate to mankind on a

universal level and I think that is what

makes Edgar the appropriate artist to

have done this but also Edgar as a major

contemporary artist and while they are

very specific to Native Americans in

some ways but this is a piece of

sculpture with a message that is far

broader than simply being tied to one

culture one place

foreign

and it was part of the initial theme was

to create it as a in a way a component

you know that the trees are standing and

the trees are there in the locations of

the wheel

in Wyoming but they're there to

metaphorically support activities of of

people to come

after I'm gone or you know adjacent to

my life other people's lives are there

to support other people's lives and I

really like that and seeing the piece

now finished I mean it's one of the

strongest parts of it is that it's a

component for other people to engage and

interact with you know what they do with

it and it also hints at something to

come to me it seems like something's

going to happen it's not like a solidly

closed figure dropped from the sky it's

a open-ended literally

then ultimately of course it makes a

circular form that's very affirming

my parents came to visit the sculpture

and when it was a Model 12 foot tall and

one of the things that did it kind of

cradled people and people wanted to sit

in the middle of it and just talk and

visit and it seemed to be kind of a safe

space or a humbly kind of a cradling

space and that was just from the model

and I think that happens here now too

when you walk into the circle

it's kind of a maybe a healing

sensibility

something that reaffirms you

and I think that's that's going to be an

overriding experience

and I'm thankful for this beautiful day

you know early this morning uh

across this country

perhaps across the world

many cultures

observe this solstice

some were educational forms

and others were probably

private ceremonies

Edgar has been in the Forefront

of opening up the debate

on contemporary cultural affairs

it's a home for that Edgar

it's essential

to think about how one is living

and art is just one way of doing that

thinking

I think your life has to be

um

available to you or you need to have

some kind of existence that you can

reflect upon to make art

and if you can't reflect on your life

you can't make any harm

whether it's good or bad you know if you

have things you can that are remarkable

you can make art out of that

foreign

thank you

thank you