SI: You’ve long worked with oversized objects, including comically large articles of clothing. But recently you’ve brought in novelty readymades you bought online, things like giant pencils, scissors, forks, and wine glasses.
ARH: A long time ago, in another universe, before having an identity as an artist, I worked for a textile company in Chicago. Everything was under one roof, from design to production and shipping. We made these very kitschy pillows embroidered with phrases. The phrases would swing from total grandma-driven language to something that was suggestive or even bawdy, with sexual overtones, or kind of nasty. So this universe of the novelty or the gag has always been something I’m interested in playing with, because it has this darkness to it.
The world of novelty production looks at everyday things that you already have a relationship with as a human in contemporary culture: a glass, or a pencil sharpener, or a pencil. These monoliths of our everyday. And I felt that there was something really interesting about combining those with things that I myself have already processed and made. What happens when those get confused and braided together, creating this unclassifiable landscape of objects, whereby you can’t necessarily untangle the found versus the made?
The novelty object is this useless vehicle but the humor of it is extremely universal. They’re things that have been considered in a boardroom somewhere and then made on a mass scale. Culturally, everyone can understand a giant wine glass.