WEBVTT 00:00:06.060 --> 00:00:13.140 [Marcel Dzama: Drawing with Raymond Pettibon] 00:00:33.880 --> 00:00:37.280 I enjoy working alone for about a month. 00:00:37.280 --> 00:00:41.100 And then after that, I really need to be around other artists or friends. 00:00:46.560 --> 00:00:48.680 I always really enjoy collaboration. 00:00:54.220 --> 00:00:57.140 Working with Raymond Pettibon has really been an honor. 00:00:57.140 --> 00:01:00.699 He was the first contemporary artist I had heard of, 00:01:00.700 --> 00:01:04.200 because of all the album covers he had done over the years of punk bands. 00:01:34.260 --> 00:01:38.440 We started collaborating because we'd go to all these Zwirner artist dinners. 00:01:40.280 --> 00:01:42.640 We're both a little bit socially awkward. 00:01:42.640 --> 00:01:44.860 So we'd be drawing at the dinners. 00:01:44.860 --> 00:01:47.130 Usually, we'd sit beside each other. 00:01:47.130 --> 00:01:49.080 So then we started drawing on napkins 00:01:50.060 --> 00:01:51.380 over the table. 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-- 00:02:05.920 --> 00:02:09.420 not as just the sketch before the painting or before the sculpture. 00:02:11.000 --> 00:02:12.740 He really put his foot in the door. 00:02:12.740 --> 00:02:13.860 And then I got in as well. 00:02:13.860 --> 00:02:14.560 [LAUGHS] 00:02:21.700 --> 00:02:24.620 --Should we do that cathedral or the waves? 00:02:25.640 --> 00:02:26.740 --Should we start that one? 00:02:26.750 --> 00:02:27.750 [RAYMOND PETTIBON] --Sure. 00:02:27.750 --> 00:02:29.340 [DZAMA] --There was this one that you had, too, 00:02:29.340 --> 00:02:30.880 --from the horses. 00:02:31.240 --> 00:02:32.360 [PETTIBON] Oh yeah... 00:02:32.360 --> 00:02:34.000 [DZAMA] --It's a pretty good color. 00:02:42.980 --> 00:02:45.280 [PETTIBON] I love gothic cathedrals, 00:02:45.280 --> 00:02:48.040 because you just let gravity... 00:02:48.680 --> 00:02:51.280 [DZAMA] Yeah, just let it drop! 00:02:51.280 --> 00:02:52.500 [LAUGHS] 00:02:52.500 --> 00:03:00.340 [PETTIBON] It took five hundred years with hard labor to get done, 00:03:02.180 --> 00:03:06.160 but drawing them is my favorite. 00:03:11.060 --> 00:03:13.600 [DZAMA] We didn't even talk about what we were planning to do. 00:03:13.629 --> 00:03:17.560 We just naturally started on one end of the paper 00:03:17.560 --> 00:03:20.200 and met in the middle or switched off. 00:03:23.600 --> 00:03:26.560 We knew that a lot of people would try to pick out, like, 00:03:26.560 --> 00:03:29.050 "Oh, Marcel drew that and Raymond drew this." 00:03:29.050 --> 00:03:31.340 So, purposely he would draw a bat. 00:03:31.340 --> 00:03:32.760 And I would draw a wave, 00:03:33.380 --> 00:03:34.520 or a surfer, 00:03:34.520 --> 00:03:36.580 or something we're more known for. 00:03:41.120 --> 00:03:43.340 If paint dripped across my drawing, 00:03:43.340 --> 00:03:47.360 I would try to incorporate it into, I don't know, a snake or something. 00:03:47.379 --> 00:03:49.920 Whereas Raymond would just leave the drops. 00:03:49.920 --> 00:03:51.900 I really like that looseness that he has-- 00:03:52.400 --> 00:03:54.700 just kind of let it happen. 00:04:01.400 --> 00:04:05.420 It's just this natural flow that really worked well. 00:04:16.280 --> 00:04:18.800 Our sons are the same age, they're both six. 00:04:18.810 --> 00:04:23.600 They were in here a few days ago and painted this one in the corner. 00:04:23.600 --> 00:04:25.980 So Raymond and I added to it as well. 00:04:25.980 --> 00:04:26.981 They started it all-- 00:04:26.981 --> 00:04:29.200 they had this whole wave in there. 00:04:29.200 --> 00:04:33.690 So this is kind of like our little family collaborative piece. 00:04:33.690 --> 00:04:35.000 It's quite fun. 00:04:40.700 --> 00:04:44.610 Since having a child, I find that seeing things through his eyes-- 00:04:44.610 --> 00:04:46.470 seeing things as brand new, 00:04:46.470 --> 00:04:51.280 and discovering things that I've just ignored or become used to-- 00:04:51.280 --> 00:04:54.080 has found its way into my work. 00:04:59.070 --> 00:05:00.440 I've definitely found that 00:05:00.450 --> 00:05:03.210 I have this looseness to my work when I collaborate. 00:05:03.210 --> 00:05:04.970 That gives it more of an energy. 00:05:04.970 --> 00:05:08.220 The work is alive and I've really embraced it.