for the wild heart
meaghan. a conqueror of the useless.
for the wild heart
The richness and depth of the book is universally respected yet often undiscovered as the monopoly of the form and relevance of the information fades over time. The book’s intended function has decreased and the form remains linear in a non-linear world. By altering physical forms of information and shifting preconceived functions, new and unexpected roles emerge. This is the area I currently operate in. Through meticulous excavation or concise alteration I edit or dissect communicative objects or systems such as books, maps, tapes and other media. The medium’s role transforms. Its content is recontextualized and new meanings or interpretations emerge.
Grinnell Lake | Glacier National Park, Montana, USA (by still.not.making.sense.)
TIME FOR A CAT PARTY
HUMAN DANCE WITH US
I worked with Mads first about 10 years ago in King Arthur, which was a very different kettle of fish, mostly spent on horses killing people painted blue. We were in Dublin for 6 months and my memory is patchy, but the one thing I definitely took away was that I’d want to work with him again with fewer horses and more acting. Followed his career since and for me he’s one of the best screen actors working anywhere. So the chance to sit opposite him and knock Bryan’s dialogue back and forth was incredible. He came onto the show after me and I was basically checking email every 5 mins hoping it would work out and I think it has. Good guy also. - Hugh Dancy
Yes, the very first thing I did abroad was a film called King Arthur. We were sitting on horses and killing blue people. […] Me and Hugh were two of the knights. So we were sitting for half a year on horseback and we became friends way back then. It’s just been a gift. We’re doing a show like this where you’re working so close together. It’s nice to be comfortable with each other, and that was just a gift that it turned out to be me and Hugh. - Mads Mikkelsen
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