And so, whos to say, in terms of consciousness, who is really looking at whom? Sandy Skoglund by Albert Baccili 2004. Sandy Skoglund studied studio art and art history at Smith College and attended graduate school at the University of Iowa where she studied filmmaking, intaglio printmaking, and multimedia art, receiving her M.A. Skoglunds oeuvre is truly special. I think that theres more psychological reality because the people are more important. Even the whole idea of popcorn to me is interesting because popcorn as a sort of celebratory, positive icon goes back to the early American natives. Its just a very interesting thing that makes like no sense. She is a complex thinker and often leaves her work open to many interpretations. Nobody ever saw anything quite like that. So its a way that you can participate if you really want to own Sandys work and its very hard to find early examples. Thats also whats happening in Walking on Eggshells is theyre walking and crushing the order thats set up by all those eggshells. Its almost outer space. Luntz: Radioactive Cats, for me is where your mature career began and where you first started to sculpt. 332 Worth Ave., Palm Beach, Florida. So if you want to keep the risk and thrill of the artistic process going, you have to create chances. So I was just interested in using something that had that kind of symbology. In 2008, Skoglund completed a series titled "True Fiction Two". The layout of these ads was traditional and American photographer, Sandy Skoglund in her 1978 series, . All of the work thats going on is the chaos and then the people inside are just there, the same way we are in our lives. And I think its, for me, just a way for the viewer to enter into. But the other thing that happened as I was sculpting the one cat is that it didnt look like a cat. Sandy and Holden talk about the ideas behind her amazing images and her process for making her photographs. So much of photography is the result, right? Luntz: Very cool. Do you think in terms of the unreality and reality and the sort of interface between the two? Luntz: Okay The Cocktail Party is 1992. These are done in a frantic way, these 8 x 10 Polaroids, which Im not using anymore. So, that catapulted me into a process of repetition that I did not foresee. And thats a sort of overarching theme really with all the work. You continue to totally invest your creative spirit into the work. Its chaos. The preconception or the ability to visualize where Im going is very vague because if I didnt have that vagueness it wouldnt be any fun. Was it reappropriating these animals or did you start again? I mean they didnt look, they just looked like a four legged creature. Luntz: I want you to talk a little about this because this to me is always sort of a puzzling piece because the objects of the trees morph into half trees, half people, half sort of gumbo kind of creatures. So when we look at the outtakes, how do your ideas of what interests you in the constructions change as you look back. Sandy Skoglund: Parallel Thinking, 1986 - Weisman Art Museum American, b. Skoglund: Im not sure it was the first. Skoglund: Yeah I love this question and comment, because my struggle in life is as a person and as an artist. So moving into the 90s, we get The Green House. Theres a series of pictures that deal with dogs and with cats and this one is a really soothing, but very strange kind of interaction of people and animals. This, too is a symbol or a representation of they are nature, but nature sculpted according to the desires of human beings.
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