The animatronic boy takes such a thrashing that he has to have new body parts transplanted regularly. I do it intuitively, not intellectually, and definitely not with an agenda.”Īs he speaks, I notice replacement heads and torsos for the puppet lying in readiness. I’m like a sponge, sucking up all those things I see on TV and in the world and putting them in my art. Is your piece to do with exploring childhood trauma? “I’m drawing on the figures from when I was a kid, but this isn’t autobiographical. Neither Wolfson nor the Tate will tell me how much it cost, only that it was bought with funds from Irish art collectors Marie and Joe Donnelly. Tate Modern has just acquired this artwork, entitled Colored Sculpture, for its collection and opens it to the public on 3 May. How is beating up a puppet real violence? “Because I’m applying real physical violence to a figure even though it’s made of animated parts.” “It’s real abuse, not a simulation.” The animatronic boy takes such a thrashing he has to have new body parts transplanted regularly “This is real violence,” Jordan Wolfson tells me as the body gets dragged again across the floor, grazing his face. The artist, not for the last time in this interview, demurs. It is as if I’m looking at an artist’s meditation on Abu Ghraib or child abuse – a simulation of suffering.
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