David Rokeby discusses his thoughts on the role of long-term conservation in his artistic practice


I still do pieces that I know are almost impossible to conserve, if they make sense for me to do. I won't let the unconservability of a piece define what I'm going to do, but I do pay attention to where there's something I can do to help that, you know, where there are decisions you can make that make it easier or harder to identify the work, and then I try to make the appropriate decisions. Because I've been doing this for 25 years, and I've watched the museums be very hesitant about engaging and understanding exactly the fragility. I've watch several generations of machines come and go. I know the details evidently, and if I want my works to continue on, I know that I have to think about these things... and so, I do. I don't necessarily solve them, but I think about them.