
“I like thinking about the cut in film as a kiss. It brings things together.”
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I met Martine Syms at a microscopic art gallery in Los Angeles’s Chinatown in 2012. We’d both been invited to give presentations to an audience so small we were essentially performing for each other, and although I can’t remember what either of our talks was about, Martine’s slides had a deep purple background—her signature color—and featured an elegant font I’d never seen before (a year later, the font, Lydian, was everywhere). At the time, she was calling herself “a conceptual entrepreneur.” Thinking about it now, I’m not sure if she meant she was an entrepreneur only conceptually, or that she sold ideas. Both might have been true, but neither quite encompasses the artist she was then, and has since become.