1 00:00:06,060 --> 00:00:13,140 [Marcel Dzama: Drawing with Raymond Pettibon] 2 00:00:33,880 --> 00:00:37,280 I enjoy working alone for about a month. 3 00:00:37,280 --> 00:00:41,100 And then after that, I really need to be around other artists or friends. 4 00:00:46,560 --> 00:00:48,680 I always really enjoy collaboration. 5 00:00:54,220 --> 00:00:57,140 Working with Raymond Pettibon has really been an honor. 6 00:00:57,140 --> 00:01:00,699 He was the first contemporary artist I had heard of, 7 00:01:00,700 --> 00:01:04,200 because of all the album covers he had done over the years of punk bands. 8 00:01:34,260 --> 00:01:38,440 We started collaborating because we'd go to all these Zwirner artist dinners. 9 00:01:40,280 --> 00:01:42,640 We're both a little bit socially awkward. 10 00:01:42,640 --> 00:01:44,860 So we'd be drawing at the dinners. 11 00:01:44,860 --> 00:01:47,130 Usually, we'd sit beside each other. 12 00:01:47,130 --> 00:01:49,080 So then we started drawing on napkins 13 00:01:50,060 --> 00:01:51,380 over the table. 14 00:02:01,520 --> 00:02:05,920 I really feel that he opened the door for the acceptance of drawing as a main art form-- 15 00:02:05,920 --> 00:02:09,420 not as just the sketch before the painting or before the sculpture. 16 00:02:11,000 --> 00:02:12,740 He really put his foot in the door. 17 00:02:12,740 --> 00:02:13,860 And then I got in as well. 18 00:02:13,860 --> 00:02:14,560 [LAUGHS] 19 00:02:21,700 --> 00:02:24,620 --Should we do that cathedral or the waves? 20 00:02:25,640 --> 00:02:26,740 --Should we start that one? 21 00:02:26,750 --> 00:02:27,750 [RAYMOND PETTIBON] --Sure. 22 00:02:27,750 --> 00:02:29,340 [DZAMA] --There was this one that you had, too, 23 00:02:29,340 --> 00:02:30,880 --from the horses. 24 00:02:31,240 --> 00:02:32,360 [PETTIBON] Oh yeah... 25 00:02:32,360 --> 00:02:34,000 [DZAMA] --It's a pretty good color. 26 00:02:42,980 --> 00:02:45,280 [PETTIBON] I love gothic cathedrals, 27 00:02:45,280 --> 00:02:48,040 because you just let gravity... 28 00:02:48,680 --> 00:02:51,280 [DZAMA] Yeah, just let it drop! 29 00:02:51,280 --> 00:02:52,500 [LAUGHS] 30 00:02:52,500 --> 00:03:00,340 [PETTIBON] It took five hundred years with hard labor to get done, 31 00:03:02,180 --> 00:03:06,160 but drawing them is my favorite. 32 00:03:11,060 --> 00:03:13,600 [DZAMA] We didn't even talk about what we were planning to do. 33 00:03:13,629 --> 00:03:17,560 We just naturally started on one end of the paper 34 00:03:17,560 --> 00:03:20,200 and met in the middle or switched off. 35 00:03:23,600 --> 00:03:26,560 We knew that a lot of people would try to pick out, like, 36 00:03:26,560 --> 00:03:29,050 "Oh, Marcel drew that and Raymond drew this." 37 00:03:29,050 --> 00:03:31,340 So, purposely he would draw a bat. 38 00:03:31,340 --> 00:03:32,760 And I would draw a wave, 39 00:03:33,380 --> 00:03:34,520 or a surfer, 40 00:03:34,520 --> 00:03:36,580 or something we're more known for. 41 00:03:41,120 --> 00:03:43,340 If paint dripped across my drawing, 42 00:03:43,340 --> 00:03:47,360 I would try to incorporate it into, I don't know, a snake or something. 43 00:03:47,379 --> 00:03:49,920 Whereas Raymond would just leave the drops. 44 00:03:49,920 --> 00:03:51,900 I really like that looseness that he has-- 45 00:03:52,400 --> 00:03:54,700 just kind of let it happen. 46 00:04:01,400 --> 00:04:05,420 It's just this natural flow that really worked well. 47 00:04:16,280 --> 00:04:18,800 Our sons are the same age, they're both six. 48 00:04:18,810 --> 00:04:23,600 They were in here a few days ago and painted this one in the corner. 49 00:04:23,600 --> 00:04:25,980 So Raymond and I added to it as well. 50 00:04:25,980 --> 00:04:26,981 They started it all-- 51 00:04:26,981 --> 00:04:29,200 they had this whole wave in there. 52 00:04:29,200 --> 00:04:33,690 So this is kind of like our little family collaborative piece. 53 00:04:33,690 --> 00:04:35,000 It's quite fun. 54 00:04:40,700 --> 00:04:44,610 Since having a child, I find that seeing things through his eyes-- 55 00:04:44,610 --> 00:04:46,470 seeing things as brand new, 56 00:04:46,470 --> 00:04:51,280 and discovering things that I've just ignored or become used to-- 57 00:04:51,280 --> 00:04:54,080 has found its way into my work. 58 00:04:59,070 --> 00:05:00,440 I've definitely found that 59 00:05:00,450 --> 00:05:03,210 I have this looseness to my work when I collaborate. 60 00:05:03,210 --> 00:05:04,970 That gives it more of an energy. 61 00:05:04,970 --> 00:05:08,220 The work is alive and I've really embraced it.