O'Daniel belongs to this strain, too, one that, consciously or not, novelist Zadie Smith articulated beautifully five years ago in an KCRW interview. "Great art to me," she said, happens when "what I'm being confronted with is exactly what is radically not me and a consciousness of the world that is so far from my own, it's a shock.
"Do other people exist in the same way I do?" the art makes her wonder. "It's so hard to believe that's true."
It's not true in O'Daniel's work. Other people exist in decidedly different ways.
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L.A. Louver
45 N. Venice Blvd.
Venice, CA 90291
Category: Art Galleries
Region: Out of Town
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Samuel Freeman
2639 S. La Cienega Blvd.
Los Angeles, CA 90034
Category: Art Galleries
Region: Santa Monica
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In Scene 29, Nature Boy, who works as a mover, is transporting a wealthy women's entire greenhouse from L.A. to Cape Cod as Hurricane Sandy arrives. O'Daniel uses the score Kim composed, in part verbatim and in part as a looser guide. Kim's score starts out with familiar, natural sounds, and then transitions to more abstracted sounds. The scene begins with rain falling on the window of a truck and a radio playing, first in English and then in French. Then it transitions to views of the plants in the greenhouse, close-ups of them as they move. They begin to hum, and captions, which show up throughout the scene, here inform us that the sound comes from the plants, and it's Kim's voice you hear: "mmm-MMM," like a sleepy buzzing.
O'Daniel showed the finished scene to Kim before captioning it, thinking Kim would recognize the visual reimagining of her own composition. But Kim couldn't connect all of what she saw with her score. The captions were an attempt to bridge this gap between composer's and artist's perception. They do occasionally describe what's happening in a way specifically helpful to a nonhearing audience ("sounds of nature," one caption reads, while rain falls and wind gushes) but also grapple with the potentials of the images and sounds together (at one point, the captions stop describing what's happening and quote filmmaker Andrei Tarkovsky on what film can mean).
"At the very end of the process, after it seemed all was said and done, again we were working our heads around the politics of sound — what it is for me to be able to hear it and her to not," O'Daniel says. "We don't shy away from this." The work grows out of such contrasts and intersections of experience, she adds.
ROGUE WAVE | L.A. Louver, 45 N. Venice Blvd., Venice | through Aug. 23 | lalouver.com
QUASI CLOSED CAPTIONS | Samuel Freeman Gallery, 2639 S. La Cienega Blvd., Culver City | through Aug. 17 | samuelfreeman.com
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