Each time he took a walk, he felt as though he were leaving himself behind, and by giving himself up to the movement of the streets, by reducing himself to a seeing eye, he was able to escape the obligation to think, and this, more than anything else, brought him a measure of peace, a salutary emptiness within…by wandering aimlessly, all places became equal and it no longer mattered where he was. On his best walks he was able to feel that he was nowhere. And this, finally was all he ever asked of things: to be nowhere.
Jasper Marsalis: Thematically, yes. I think in both my music and my art I’m very obsessed with black spectacle and the way that blackness is consumed by people. But installation-wise I don’t ever want there to be overlap because I think that takes away the strength of each medium. But I do see performance as the middle ground. Like two weeks ago I had the realization that there is performance art and I had forgot about that rich history and how performance in music is necessary. I think a lot of performance art challenges the boundaries for a spectator which is something I’m very fascinated by. A lot of my paintings are about stages and people looking at things — I know that’s super vague — but people look at paintings and on a stage you have a lot of people looking at one thing which is like a painting in a poetic way – it’s like you have a rectangle and everyone looks at the rectangle so then it becomes a big ass painting. But I think it’s important to interrogate that relationship between performer and audience.