sits well inside the interior space; within one box he can incorporate both House and Universe, the pipe for which the soap bubble becomes a planet, the hotel with a window to the stars. Collage. Eyes in Space Collage. Outmoded ideas. [F4] AH: What if we are to think through the studio as a model of the Unconscious?. DC: You’ve mentioned this before. AH: I think it’s worth pursuing... DC: But that takes us away from the Lacanian idea of the Unconscious being structured like a Language, it’s a different Model. AH: But it’s like a language, not that it is a Language. It’s a way to think about how the objects are constructed in the studio as opposed to how they are constructed in the gallery, and how to create in the gallery something which is in a sense legible, which is different but related to the way objects evolve and Co-exist in the studio. (Reading from a book, either Lacan, possibly Zizek): “Sense always comes from the other, in the way the other hears or responds to your words; for instance, he will accept your Hate at face value, or will consider your Hate in its guise as Love. The other, on whose decipherment the meaning of the subject’s words depend, is yet a vacuous place, an imaginary substitute for the fundamentally alienating function of language, a function symbolised by the idea of the other. Sense is always sense of the other. This is the real that drives the subject, because meaning can never be possessed by the subject, can never become wholly particular to a subject. Sense is also unattainable for another reason; the signifiers chosen by the subject are the production of Jouissance, to the particular modes of the subject’s pleasure; their signifying function Anthony as Andy as Andy, artist talk in Athens, 2011
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