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[Marcel Dzama: Drawing with Raymond Pettibon]

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I enjoy working alone for about a month.

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And then after that, I really need[br]to be around other artists or friends.

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I always really enjoy collaboration.

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Working with Raymond Pettibon[br]has really been an honor.

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He was the first contemporary artist[br]I had heard of,

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because of all the album covers he had[br]done over the years of punk bands.

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We started collaborating because we'd[br]go to all these Zwirner artist dinners.

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We're both a little bit socially awkward.

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So we'd be drawing at the dinners.

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Usually, we'd sit beside each other.

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So then we started drawing on napkins

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over the table.

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I really feel that he opened the door for[br]the acceptance of drawing as a main art form--

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not as just the sketch before the painting[br]or before the sculpture.

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He really put his foot in the door.

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And then I got in as well.

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[LAUGHS]

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--Should we do that cathedral or the waves?

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--Should we start that one?

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[RAYMOND PETTIBON][br]--Sure.

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[DZAMA][br]--There was this one that you had, too,

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--from the horses.

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[PETTIBON][br]Oh yeah...

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[DZAMA][br]--It's a pretty good color.

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[PETTIBON] I love gothic cathedrals,

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because you just let gravity...

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[DZAMA] Yeah, just let it drop!

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[LAUGHS]

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[PETTIBON] It took five hundred years[br]with hard labor to get done,

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but drawing them is my favorite.

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[DZAMA] We didn't even talk about[br]what we were planning to do.

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We just naturally started on[br]one end of the paper

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and met in the middle or switched off.

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We knew that a lot of people[br]would try to pick out, like,

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"Oh, Marcel drew that and Raymond drew this."

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So, purposely he would draw a bat.

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And I would draw a wave,

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or a surfer,

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or something we're more known for.

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If paint dripped across my drawing,

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I would try to incorporate it into,[br]I don't know, a snake or something.

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Whereas Raymond would just leave the drops.

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I really like that looseness that he has--

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just kind of let it happen.

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It's just this natural flow[br]that really worked well.

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Our sons are the same age,[br]they're both six.

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They were in here a few days ago[br]and painted this one in the corner.

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So Raymond and I added to it as well.

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They started it all--

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they had this whole wave in there.

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So this is kind of like our little[br]family collaborative piece.

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It's quite fun.

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Since having a child,[br]I find that seeing things through his eyes--

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seeing things as brand new,

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and discovering things that I've just ignored[br]or become used to--

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has found its way into my work.

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I've definitely found that

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I have this looseness to my work[br]when I collaborate.

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That gives it more of an energy.

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The work is alive[br]and I've really embraced it.