silicone, fiberglass, steel, software, electronics, computers, algorithmic digital audio
approx. 70"h x 30"w x 12"d

video clip

ďFor me personally it has something to do with the desire for connection and the sort of oceanic feeling that is
generated by the experience of that. These works of mine explore the impossibility of creating that through
language when there is no reality of the person. So the figures in the works, and especially in Hell, have a sort of
the appearance of being frustrated all the time. And itís important to note that itís always a referential
experience. The work evokes things in the viewer but the figures donít feel anything at all donít really think
anything at all. Thatís not always understood by the viewer. The situation is theatrical and even though it is largely
improvised, the conversation is staged. The figures are ďas-ifĒ they are actors. ďAs-ifĒ operates in many realms in
this work. So the figures are trying to connect, but they donít really have any affect states but only the ability to
speak about them. Theyíre constantly searching for something that will reaffirm their desire to connect with the
other one. And itís always undermined. Itís always thwarted. It never gets to the point where they can settle into
a loving conversation.ď

-KF, from ďLove is a Good Place to StartĒ, an Interview with Ken Feingold, by Edward Shanken, 2014

transcript of a conversation:

She: You feel stubborn.
He: I love you.
She: You can be emotional sometimes.
He: I love you.
She: How can it be?
He: I love you.
She: At times I feel I want to discuss you.
He: You love me to be so irritated?
She: Do you doubt it?
He: What do you think?
She: Love is angry.
He: Sometimes I want to concoct you.
She: Thatís nice.
He: Sometimes you are sharp.
She: So you say.
He: I can never be so impatient.
She: Why not? Never ever?
He: Who knows?
She: At times I feel I want to disturb you.
He: I love you.
She: How can it be?

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