On what the sculptures are exactly: “I kind of appreciate that they’re coming off almost like play equipment or something. For kids they totally are; that’s all they are. I mean, there’s so much, however you’re approaching them. They’re definitely sculptures too — they were made for the Biennial — they’re that. You know my background. I think when I was invited to be in that show I took it very literally. ‘Now I’m going to make some ART.’ Almost like in a cartoon, what art would be. And yeah, of course I had to figure out how to do that in my own way. The fact that I had to make heavy objects that had to be shipped — it’s like, I can’t believe I did that, with all the other options I had.”
On the significance of the number 11: “I had more than eleven ideas, and it was an editing process. I made all these little drawings. I had them laid out on the floor at one point. I remember going through with my now-husband [filmmaker and artist Mike Mills] — us haggling, getting down to ‘What would just be trite?’ It’s easy with something short to end up being oddly trite.”
For the full interview, read ARTINFO’s “Please Do Touch: A Q&A with Miranda July.”
All photographs by Brian Paul Lamotte, courtesy of the artist and Suzanne Geiss LLC.