"I Die Daily": Dissecting an artist's singular mind

At first I wondered whether Matthew Wallin's behind-the-scenes footage of the filming of Matthew Barney's "Cremaster" movies might be too much information. Who'd want to undo the weird and haunting images that Barney worked so hard to create?

But the pieces of Wallin's documentary-in-process "I Die Daily: The Making of Matthew Barney's Cremaster Cycle" turn out to be interesting and fun, like seeing how a magician sets up his sleight of hand. Of course, if you aren't familiar with the "Cremaster" films — or are among those who can't stand Barney's work — that may not hold true.

Wallin's show at 911 Media Arts is simply an empty gallery with footage being screened simultaneously on three walls. You'll see Barney interacting with sculptor Richard Serra, a co-star in Barney's "Cremaster 3," and bits of preparation for the astonishing car-demolition scene from that film. You'll see members of the Rockettes prancing inside the Guggenheim Museum and Barney between takes, his chiseled Greek-god torso bare, his mouth smeared with fake blood like a lion after a kill. There's plenty to look at as the musical soundtrack by composer Mike Morasky plays along. The setup for the screening is a little awkward, though. There's nothing to sit on. The film footage, which you'll want at least half an hour to watch, is being presented as if it were an art installation — but it's not clear why it should be. The only art clearly in evidence at this point is Barney's on screen: Wallin's documentary is still formless.

I'm told that if you visit on a Saturday you can also see a 15-minute segment with interviews that's playing continually in the 911 theater one day a week only. At least for that part, you can sit and watch in comfort.

Sheila Farr: sfarr@seattletimes.com