Wayne McGregor: “I see beauty in the dysfunctional”
Mr. McGregor, how would you describe your unique style of choreography?
I see beauty in things that are dysfunctional rather than just pure line and shape. The aspiration of classical ballet has often been about a kind of grace and effortlessness and lyricism in the body, an instrument that’s in fantastic motion. I think that’s really beautiful and really interesting, but I also think there’s a whole other range of physical potential that a human body can do. So, I’m interested in that side of it. I’m interested in bodies misbehaving.
Where do you think that comes from?
I’ve always had a very long body, so I’ve been able to do things differently. I was doing body-popping and a lot of club stuff when I was around 18, when rave culture came around. That kind of permeates the way in which you see people move. I’ve not been in a classical ballet school — where you’ve seen bodies move in a particular way — since the age of eight.
Tom Sachs: “Consumerism was a ritual”
Mr. Sachs, where does your interest in making things come from?
I think I first started making things because I wanted them, it was like sympathetic magic, you know, you build a model of your enemy’s fort and then you burn it down or you make a voodoo doll. The power of positive thinking: if you believe you are halfway there. As a kid, my dad really wanted this camera. He couldn’t afford it so I made the Nikon camera that he wanted out of clay and I gave it to him. It was a pretty rustic thing that I made as a kid but through the making of it, I was able to give him something that he really wanted.
So your creativity was initially fueled by desire?
Right, I made things because I wanted them. Consumerism was the sort of ritual of my community growing up and making this clay camera was a way of contributing to that. Half of having an expensive camera is the image that it captures, but the other half is holding it and desiring it and appreciating what went into making it. I think a lot of collectors aren’t even so much interested in the original intention of the thing but what it means to them as a consumer object.