JULES MARQUIS
Paddle8 - December 2011
Unabridged version

Timothée Chaillou: Is Jules Marquis a fictional character created to use his eyes and creativity instead of yours?

Colin Snapp & Daniel Turner: Yes although we never think of Jules as masculine or feminine but rather a platform to launch our collaborative projects.

TC : Could you please talk about your performance The Smithsonian Broadcast (2009), a three-hour sit-in meditation whose aim was to be broadcast on NBC?

C&D: It seems there is no right or left as if the media has been mediated or modulated to a center counter point. The character in the performance was fabricated to exemplify this melting point, and what better thing to broadcast than a silent mediation back to the audience.

TC: Could you please talk about ?????????? (2011) and its context of presentation? Do you refer to Alfred Hitchcock's Rear Window, or is it a cross-reference to the nowadays-overwhelming stream of advertisement and media information?

C&D : ?????????? , is not a reference to the film Rear Window. The piece originally came about as a commentary on light pollution in NYC. The work was streamed on a video billboard in Times Square as the context seemed most appropriate for this work.

TC: What are the characters of Community Sculpture Seminar (2010) doing? What did you do with the things they use?

C&D: The images you have seen are selected from a seminar held at Jericho Ditch, where the local community shared a dialogue amongst selected objects. After the seminar the tools or objects went directly back into daily life. The water sprinkler continued to water the lawn, the chain saw continued to cut trees.

TC: Could you please talk about the use of found images you make, like the Arabian women coverby jewelries (Marrakech (2011), Vanna White (2010)) and could you also explain your reference to the art world, for example the framed catalogue for a jewelry sale by Sotheby’s (Sotheby’s (2011))?

C&D : Marrakech was printed as a wall paper border to enhance a collection of decorative works perhaps purchased through a major auction house such as Sotheby's. Vanna White is a large vinyl print of a found image dealing with similar themes of global decor and consumption.

TC: Why did you choose to use some furniture supporting bodies, like the child carrier (Cambridge (2010)) or the vinyl folding chair (Rachael (2009))? What does the sorry state of this chair symbolize?

C&D: Mimicking a human temperament. For instance, Rachael is a reflection of a personality type. Perhaps a waitress living in Miami who's is not happy with her life - stressed out, sunburned, far too many cigarettes.

TC : Is God Bless the Pirates (2008) a voyeuristic documentary?

C&D: Colin filmed God Bless the Pirates when he was age 14 at a party in Colorado. The author the same age and kinship as the subject matter, so for this reason the film is not voyeuristic.

TC: Why did you choose to make these two videos about sport: Panthers vs. Giants (2009) and Wild Horses (2010)?

C&D : Athleticism.

http://timotheechaillou.com/files/gimgs/172_julesmarquisvanna.jpg
Daniel Turner & Colin Snapp
Vanna White, 2010
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Daniel Turner & Colin Snapp
??????????, 2011
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Daniel Turner & Colin Snapp
Valley Forge, 2010
http://timotheechaillou.com/files/gimgs/172_danielturneruntitled.jpg
Daniel Turner & Colin Snapp
Delta Performance JFK to LGA, 2009
http://timotheechaillou.com/files/gimgs/172_julesmarquiscommunitysculptureseminar.jpg
Daniel Turner & Colin Snapp
Community Sculpture Seminar, 2010
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Daniel Turner & Colin Snapp
Cambridge, 2010
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Daniel Turner & Colin Snapp
Good Game, 2010
http://timotheechaillou.com/files/gimgs/172_julesmarquis.jpg
Daniel Turner & Colin Snapp
The Smithsonian Broadcast, 2009
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Daniel Turner & Colin Snapp
The Smithsonian Broadcast, 2009