PRINT April 2001


John Pilson loves boxy, putty-colored computers; he hates those “designed” Macs on which he actually does his video work at home. Drab PCs make good foils for what he likes to think of as “gestures,” unexpected actions or interventions in the anonymous world he calls “corporate cubicleland,” a space Pilson finds endlessly provocative. Empty corridors thrill him. This milieu, which he knows well, even intimately, having worked in the graphics department of a Wall Street investment firm for more than five years, is the setting for his first videos, Above the Grid, 2000, and Interregna, 1999–2000.

A photographer from the outset, Pilson took up video last year, only after desktop editing had come along and eliminated the need for outside facilities, thus permitting, as he put it recently, “the solitary process of thinking about and within a subject, of walking away, of redoing” that he enjoyed

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