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GABRIEL OROZCO: I like to work here.

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I like to walk.

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Wakes me up. Just a few blocks of [br]walking can happen many things.

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And I like to observe these [br]things, and to enjoy them.

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The camera is an instrument [br]that I use to, as a way of,

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as an excuse to look at these things.

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So the camera is a way of awareness.

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Even when I was a kid,

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I remember the streets that I walked in Mexico,

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going from my house to school.

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I can remember all the puddles in between,

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and all the accidents in the sidewalk.

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I always liked this, to look at this.

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I don’t have a studio, so I don’t [br]have a specific place of production.

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I found that sometimes the [br]studio’s an isolated place,

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an artificial place, like a bubble.

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That I’m not so interested because [br]I think it gets out of reality.

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What happen when you don’t have a studio

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is that you have to be confronted [br]with reality all the time.

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You have to be in the street,

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you have to walk around,

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you have to be outdoors.

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I try to be intimate with everything I can.

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To be intimate you have to open yourself

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and you have to trust what is around you.

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And then you generate signs [br]of intimacy with these things.

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And then all the other people can have [br]that same relationship with the world.

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I don’t have a technique, I have [br]many different ways to work.

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So when I finish something,

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I need to invent something else,

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in a different medium, in a different place.

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This Citroen is not just [br]a car, it’s a special car,

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and charged with significance [br]because it’s a cultural object.

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But it’s not just an icon because it’s [br]also a machine that has a function.

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And to remake it on it’s own logic,

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you are at the same time analyzing this icon

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so that it becomes something active again.

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I mean I did it with one assistant.

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Cutting it together, we worked [br]for a month in a garage.

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It was quite intimate work, it was very nice.

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It was a lot of work.

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I extracted the center and put it back together.

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On one side, laterally, you [br]see it like a normal car

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and then when you walk around you [br]have the perspective distorted.

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Here, I wrote something, which [br]will read something like,

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"transport system beyond the vanishing point.""

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And then, also these are more [br]like, organic drawings, just loose.

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But the real drawing was in the car itself.

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Because you have to make the line very [br]precise and that took like a week.

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You can keep cutting it.

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You can do another cut and another cut

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and another cut until infinite [br]and you will never finish.

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MARIA GUTIERREZ DE OROZCO: He had [br]to come to the supermarket with me

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to help carry stuff back, but of course there,

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he started playing with the food,

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because he was bored about me reading [br]all the labels and the ingredients.

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He realized what an ordered, [br]perfect world the supermarket is,

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and he realized the minute you put it back

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and it’s not it’s place there’s [br]this chaos that generates just from

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putting something that’s not right and you [br]feel immediately that something is wrong.

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And that’s when he brought the [br]potatoes with the notebooks

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and he put the cat food with the watermelon.

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It’s actually all very banal with him, there's little mystery

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It’s all very basic.

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It’s just this incredible curiousity that he takes for granted that suddenly he gets fascinated.

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GABRIEL OROZCO: What I like about games is that

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a game is a thing on it’s own.

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So you have a little world in [br]this board or in this table,

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designed to perfection so [br]you can play in a landscape

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and when it is a good game,

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it’s so passionate that you can really [br]get into this world and just live in it.

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When you have normal ping pong game

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you have a net which is a [br]non space between two spaces.

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But instead of two people playing you [br]have four people playing in four tables,

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you open that space so the net is open.

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And what you have there is a new space.

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And that is the space I am interested in,

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in the in- between space.

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Because it’s a new space I [br]could do anything I wanted.

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I decided to make a pond.

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I will say it’s just an arbitrary decision,

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but then if you want to connect [br]that with the pond in Indian culture

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and relate it with the lotus flower [br]and the beginning of the universe

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and the pond as the center of the universe,

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you can.

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One day I saw the Foucault Pendulum,

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and as you know it’s the way that [br]was proved that the earth moves.

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Because you have this pendulum [br]hanging from very high

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which is constantly moving [br]because the earth is rotating.

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Then I decided, ‘What happens if one of [br]the balls in the billiard is a pendulum?’

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and then also instead of [br]having a rectangular table,

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I decided to have an elliptical [br]table or an oval table.

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So then we will play more [br]closer to laws of the universe.

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In billiards, because it’s rectangular,

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you can calculate how the ball is going to bounce.

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But in this case when the ball [br]starts to touch this oval,

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it just starts to bounce around, around,

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and then just gets lost totally.

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Anyway it’s a totally different game and, and,

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and it’s more complex in many ways.

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It’s also much more boring [br]than a normal billiard game,

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but uh, and also I didn’t put any rules except

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the basic rules of hitting [br]two balls with your own ball.

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And people play it. I play it sometimes.[br]And the rules, they have to be invented.

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I tried to use the tools that everyone can use.

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I don’t want to be a specialist.

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A technique, that is very difficult.

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I prefer to be a beginner.

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I like to learn how to fix cars [br]and then I did the Citroen.

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I mean, I’m not an expert in cars.

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Even I think sometimes when I do, like ceramics,

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it’s like a hobby for me, I think.

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It’s more like well I like ceramics, it’s nice,

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I want to learn a little bit. It’s [br]exactly how you define a hobby.

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Normally when you do potteries

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you are very much aware of [br]this empty center space.

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In this case I was not so interested [br]in the center but as a mask.

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For that reason I need a clay that was special.

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And this workshop used to [br]be a brick factory before;

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they have these machines to [br]produce clay that I need very fast.

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So in one day you can do a whole amount of hours

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almost like a worker doing a mechanical thing,

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and for me that was important.

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The thinking process is related [br]with the ball in many ways.

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To be moving in a train or [br]to be looking at the ocean.

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To be working with my hands [br]with the clay and very physical.

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All generates a stimulus in [br]the brain and you are thinking.

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But the connection between [br]the brain and the breathing

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and the sweating and the time that you spend

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and how you slow down thinking [br]or you accelerate thinking—

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you just generate the [br]different aspects of thinking.

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So when I feel that it should be [br]ready is a quite subjective thing.

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It’s just that the shape should [br]represent what just happened before.

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Pottery’s a very complex [br]instrument in human history.

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It can be related to Mexico if you want,

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but it can be related with Greece,

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it can be related with everybody in the world

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because pottery is just part of history.

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The division between work and [br]everyday life is very strong.

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In Mexico it’s the same.

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And that space in between work [br]and life is the space that is

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very hard to negotiate for everybody.

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Leisure time or pleasure time or knowledge time

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or research time or, that space that is left over

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because the important thing is to work,

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and then to sustain your life or something.

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But then all the spaces in between are a bit lost.

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So every citizen has to fight for those spaces.

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When you live and work in the same place,

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everything is part of the work.

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Every furniture is important, every little thing.

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Even the trash.

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The contradiction that I have is that [br]when I say I don’t want to produce things,

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but at the same time there is this necessity [br]of producing signs of communication,

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a kind of mirror of what I’m doing.

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And maybe it’s an obsession of building [br]bridges of communication with other people.