[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:10.44,0:00:16.40,Default,,0000,0000,0000,,♪energetic synths♪
Dialogue: 0,0:00:33.41,0:00:41.15,Default,,0000,0000,0000,,Phyllida Barlow: This used to be my daughter's flat. It's the \Nfirst time I've had a studio with a window.
Dialogue: 0,0:00:42.01,0:00:50.98,Default,,0000,0000,0000,,I love this semi-industrial skyline. \NIt suits me really perfectly. [LAUGHS]
Dialogue: 0,0:01:11.94,0:01:16.56,Default,,0000,0000,0000,,I have a fascination with \Nabandoned industrial objects.
Dialogue: 0,0:01:20.34,0:01:24.06,Default,,0000,0000,0000,,Out of the back of our house \Nwhere we look onto a railway yard,
Dialogue: 0,0:01:24.06,0:01:30.78,Default,,0000,0000,0000,,you see these objects that had this very \Nspecific use suddenly becoming moribund.
Dialogue: 0,0:01:32.34,0:01:39.42,Default,,0000,0000,0000,,To me, the idea of re-making those objects \Nis another form of fossilizing. [LAUGHS]
Dialogue: 0,0:01:39.42,0:01:42.30,Default,,0000,0000,0000,,Especially with a material \Nlike plaster and cement.
Dialogue: 0,0:01:46.02,0:01:49.38,Default,,0000,0000,0000,,Sculpture can take on the world we're living in.
Dialogue: 0,0:01:49.38,0:01:54.06,Default,,0000,0000,0000,,It can absorb color and \Nthose industrial processes.
Dialogue: 0,0:01:58.98,0:02:03.24,Default,,0000,0000,0000,,A lot of builders use these\Ncolors to mark places which
Dialogue: 0,0:02:03.24,0:02:05.99,Default,,0000,0000,0000,,needs repairs or mending.
Dialogue: 0,0:02:07.05,0:02:11.31,Default,,0000,0000,0000,,They're colors \Nof information in the urban environment.
Dialogue: 0,0:02:25.92,0:02:33.84,Default,,0000,0000,0000,,For a lot of people born in the 40s, \Nthe shadow the war cast was very long.
Dialogue: 0,0:02:36.84,0:02:44.82,Default,,0000,0000,0000,,I had extraordinary memories of London as \Nquite a war-damaged city down in the East End.
Dialogue: 0,0:02:45.90,0:02:54.06,Default,,0000,0000,0000,,The whole idea of damage and repair is an \Ninherent process of making sculpture for me.
Dialogue: 0,0:03:00.67,0:03:04.86,Default,,0000,0000,0000,,I've got some blunt\Nscissors here. [laughs]
Dialogue: 0,0:03:06.55,0:03:09.36,Default,,0000,0000,0000,,[James Tailor] The aesthetic of something\Nlooking like it's gonna fall apart
Dialogue: 0,0:03:09.38,0:03:11.59,Default,,0000,0000,0000,,is something I\Nquite enjoy in my work.
Dialogue: 0,0:03:12.08,0:03:15.46,Default,,0000,0000,0000,,It's nice to work with another\Nartist who has that kind of
Dialogue: 0,0:03:15.46,0:03:16.87,Default,,0000,0000,0000,,aesthetic happening.
Dialogue: 0,0:03:16.87,0:03:17.37,Default,,0000,0000,0000,,She's great.
Dialogue: 0,0:03:17.37,0:03:17.87,Default,,0000,0000,0000,,She's absolutely lovely.
Dialogue: 0,0:03:18.74,0:03:20.24,Default,,0000,0000,0000,,[Phyllida] I pay him to say--
Dialogue: 0,0:03:20.24,0:03:22.90,Default,,0000,0000,0000,,[James] That's exactly what I\Nshould say right now.
Dialogue: 0,0:03:22.90,0:03:25.00,Default,,0000,0000,0000,,It's actually really\Nnice working for her.
Dialogue: 0,0:03:25.51,0:03:26.36,Default,,0000,0000,0000,,[Phyllida] Good.
Dialogue: 0,0:03:26.38,0:03:27.74,Default,,0000,0000,0000,,That's another 10 pounds. [Laughs]
Dialogue: 0,0:03:27.74,0:03:29.74,Default,,0000,0000,0000,,[James] Can I go home early today?
Dialogue: 0,0:03:33.72,0:03:41.10,Default,,0000,0000,0000,,[Phyllida] During the 60s, there were three very significant \Nsculpture shows in London at the Whitechapel
Dialogue: 0,0:03:41.10,0:03:45.20,Default,,0000,0000,0000,,Gallery, challenging sculpture in all sorts \Nof ways.
Dialogue: 0,0:03:46.14,0:03:48.14,Default,,0000,0000,0000,,All the sculptures were painted,
Dialogue: 0,0:03:48.60,0:03:56.22,Default,,0000,0000,0000,,fiberglass and resin was used as the \Nmaterials. The traditional skills of
Dialogue: 0,0:03:56.22,0:04:03.06,Default,,0000,0000,0000,,sculpture were being challenged, questioning \Nthat hierarchy that bronze and stone had.
Dialogue: 0,0:04:05.88,0:04:11.76,Default,,0000,0000,0000,,I found earthy materials like \Nplaster and cement really compelling.
Dialogue: 0,0:04:15.42,0:04:20.22,Default,,0000,0000,0000,,I started using fiberglass and \Nresin and painting my sculptures.
Dialogue: 0,0:04:22.44,0:04:29.16,Default,,0000,0000,0000,,Of course, I'd looked at Eva Hesse. I \Nwas completely mesmerized by her work.
Dialogue: 0,0:04:29.16,0:04:34.08,Default,,0000,0000,0000,,That a hanging piece of cloth could \Nactually take on consuming space.
Dialogue: 0,0:04:37.38,0:04:42.66,Default,,0000,0000,0000,,I was determined to participate in \Nthese new approaches to sculpture.
Dialogue: 0,0:04:53.45,0:04:55.38,Default,,0000,0000,0000,,[sawing]
Dialogue: 0,0:05:01.14,0:05:04.48,Default,,0000,0000,0000,,There's a sort of method in the madness. [LAUGHS]
Dialogue: 0,0:05:15.70,0:05:20.93,Default,,0000,0000,0000,,This particular group are \Nall about compression. About
Dialogue: 0,0:05:21.30,0:05:31.44,Default,,0000,0000,0000,,things being very closed and tightly contained. \NIt's not so much about an idea as about an action.
Dialogue: 0,0:05:32.88,0:05:37.56,Default,,0000,0000,0000,,Making the smaller works is the \Ninitiation of the larger works.
Dialogue: 0,0:05:39.84,0:05:46.08,Default,,0000,0000,0000,,I know I want the color to be something that's \Ninherent to it and not just applied at the end.
Dialogue: 0,0:05:49.92,0:05:54.66,Default,,0000,0000,0000,,That's why I'm putting the fabric \Non the cardboard at this stage,
Dialogue: 0,0:05:55.38,0:05:58.92,Default,,0000,0000,0000,,so the thing is almost like \Na rock strata or something.
Dialogue: 0,0:05:59.67,0:06:01.92,Default,,0000,0000,0000,,[drilling]
Dialogue: 0,0:06:02.16,0:06:03.39,Default,,0000,0000,0000,,Oopsie. [laughs]\N
Dialogue: 0,0:06:06.42,0:06:11.34,Default,,0000,0000,0000,,I think I was more interested \Nin processes of production,
Dialogue: 0,0:06:11.34,0:06:16.02,Default,,0000,0000,0000,,rather than having an idea \Nand then just making it.
Dialogue: 0,0:06:16.56,0:06:24.39,Default,,0000,0000,0000,,I quite like the long, slow process of drawing, \Nthinking about it, then moving to materials.
Dialogue: 0,0:06:25.86,0:06:31.98,Default,,0000,0000,0000,,Those thoughts in your head start to diminish and the \Nthing in front of you gains momentum of its own.
Dialogue: 0,0:06:35.70,0:06:41.70,Default,,0000,0000,0000,,I'm always interested in the slippage \Nmemory has and painting is a fantastic
Dialogue: 0,0:06:41.70,0:06:47.10,Default,,0000,0000,0000,,way of recording that slippage \Nwhere things are inaccurate.
Dialogue: 0,0:06:49.92,0:06:53.40,Default,,0000,0000,0000,,A lot of the quick work has a lot to do with
Dialogue: 0,0:06:53.40,0:06:57.33,Default,,0000,0000,0000,,having so little time in the studio when the \Nchildren were young, you know.
Dialogue: 0,0:06:58.45,0:07:06.73,Default,,0000,0000,0000,,So, this is a deal I made with myself that if it was only an hour \Nor two hours, I had to have done something.
Dialogue: 0,0:07:10.68,0:07:15.00,Default,,0000,0000,0000,,I went when I was 16, as a painter, to art school.
Dialogue: 0,0:07:16.02,0:07:22.68,Default,,0000,0000,0000,,Painting would have these quite strict procedures \Nabout them. There were so many rights and wrongs
Dialogue: 0,0:07:22.68,0:07:29.64,Default,,0000,0000,0000,,about techniques, about forms. And it became \Nvery obvious to me that paintings use walls.
Dialogue: 0,0:07:29.64,0:07:36.00,Default,,0000,0000,0000,,And to me, walls are very authoritarian. \N[LAUGHS] They decide what the space is.
Dialogue: 0,0:07:37.38,0:07:45.60,Default,,0000,0000,0000,,A stand-alone sculpture is using the space that \Nwe could occupy or something more worthwhile.
Dialogue: 0,0:07:46.86,0:07:53.16,Default,,0000,0000,0000,,Its possibility for being anarchic \Nexcites me a lot. I think I've
Dialogue: 0,0:07:53.16,0:07:58.56,Default,,0000,0000,0000,,found that like a kind of escape from the \Nwhole business of getting something right.
Dialogue: 0,0:08:01.26,0:08:08.64,Default,,0000,0000,0000,,In the way I work now, which is quite big, \Nmy relationship with the sculptures is:
Dialogue: 0,0:08:08.64,0:08:10.83,Default,,0000,0000,0000,,Where does the space escape to?
Dialogue: 0,0:08:11.100,0:08:15.03,Default,,0000,0000,0000,,What is \Nthe ambition of the space and the way
Dialogue: 0,0:08:15.03,0:08:21.06,Default,,0000,0000,0000,,that it becomes enclosed? And what happens \Nif that space is explored to the maximum?
Dialogue: 0,0:08:29.62,0:08:33.22,Default,,0000,0000,0000,,♪curious synths♪
Dialogue: 0,0:08:35.66,0:08:39.02,Default,,0000,0000,0000,,Yes, they're all\Nupside-down. [laughs]
Dialogue: 0,0:08:41.98,0:08:43.39,Default,,0000,0000,0000,,Ugh,
Dialogue: 0,0:08:44.48,0:08:45.43,Default,,0000,0000,0000,,that's annoying.
Dialogue: 0,0:08:47.66,0:08:49.66,Default,,0000,0000,0000,,I think I must have\Njust shoved them in there.
Dialogue: 0,0:08:51.08,0:08:51.77,Default,,0000,0000,0000,,Yes.
Dialogue: 0,0:08:54.04,0:09:00.56,Default,,0000,0000,0000,,This is more looking at where sculpture ends up \Nand what happens if it ends up in places where
Dialogue: 0,0:09:00.56,0:09:02.64,Default,,0000,0000,0000,,it's not meant to be.
Dialogue: 0,0:09:03.50,0:09:08.70,Default,,0000,0000,0000,,At a time when I wasn't \Nhaving exhibitions, saying, "Well, this is good
Dialogue: 0,0:09:08.70,0:09:16.08,Default,,0000,0000,0000,,enough for me putting my sculpture in this hallway \Nfor four hours before people want it back again"
Dialogue: 0,0:09:16.08,0:09:26.76,Default,,0000,0000,0000,,shows me that there's a great kind of gaping hole \Nabout what and where sculpture is meant to be,
Dialogue: 0,0:09:26.76,0:09:34.08,Default,,0000,0000,0000,,and I think I have sort of always been interested \Nin the object that seems badly behaved.
Dialogue: 0,0:09:36.54,0:09:43.20,Default,,0000,0000,0000,,This was an object for an ironing board. It's \Na bit of that kind of nostalgic thing. Oh,
Dialogue: 0,0:09:43.20,0:09:48.30,Default,,0000,0000,0000,,the work has got worse [LAUGHS] over \Nthe years. It hasn't got better.
Dialogue: 0,0:09:58.84,0:10:01.25,Default,,0000,0000,0000,,Shall we begin the\Nsecond coat then? Yeah.
Dialogue: 0,0:10:01.47,0:10:03.17,Default,,0000,0000,0000,,How should we do it?
Dialogue: 0,0:10:03.60,0:10:06.98,Default,,0000,0000,0000,,Randomly pick a color\Nthat isn't a red, yeah.
Dialogue: 0,0:10:08.67,0:10:12.66,Default,,0000,0000,0000,,Working with a bunch of younger \Nartists is very important for me.
Dialogue: 0,0:10:13.37,0:10:18.04,Default,,0000,0000,0000,,I've just got stuck on\Nthe de Kooning colors.
Dialogue: 0,0:10:19.38,0:10:26.22,Default,,0000,0000,0000,,I feel hugely responsible and a sort of \Nanxiety that the deal is beneficial to them.
Dialogue: 0,0:10:27.48,0:10:35.76,Default,,0000,0000,0000,,They're part-time and they're self-employed. I \Nwork closely with my studio manager, Adam, and
Dialogue: 0,0:10:35.76,0:10:43.98,Default,,0000,0000,0000,,we're always thinking, "What can we offer \Nthem? Like, a three-month block guaranteeable."
Dialogue: 0,0:10:45.54,0:10:51.78,Default,,0000,0000,0000,,I think being a mother makes one quite \Nsensitive to what people are going through.
Dialogue: 0,0:10:54.29,0:10:55.57,Default,,0000,0000,0000,,Yeah, that's fine.
Dialogue: 0,0:10:56.32,0:10:57.81,Default,,0000,0000,0000,,It's pretty scruffy.
Dialogue: 0,0:10:57.81,0:10:59.10,Default,,0000,0000,0000,,Yeah, that's great. Yeah.
Dialogue: 0,0:10:59.28,0:11:05.21,Default,,0000,0000,0000,,At the moment, there are quite a lot of assistants \Nbecause we're very behind on finishing the work
Dialogue: 0,0:11:05.21,0:11:07.05,Default,,0000,0000,0000,,for an exhibition.
Dialogue: 0,0:11:08.36,0:11:14.85,Default,,0000,0000,0000,,The way I inform them \Nof certain aesthetic qualities that I want
Dialogue: 0,0:11:14.85,0:11:22.56,Default,,0000,0000,0000,,is keeping their actions to something \Nthat is more functional than artistic.
Dialogue: 0,0:11:22.56,0:11:27.36,Default,,0000,0000,0000,,Like a cleaning gesture with a brush \Nthat happens to be loaded with paint.
Dialogue: 0,0:11:28.68,0:11:31.92,Default,,0000,0000,0000,,It's about information and expedience.
Dialogue: 0,0:11:42.06,0:11:47.10,Default,,0000,0000,0000,,Some of the best times I've had was \Njust taking the work to places so I
Dialogue: 0,0:11:47.10,0:11:51.00,Default,,0000,0000,0000,,could have a different relationship with \Nit from it being produced in the studio.
Dialogue: 0,0:11:56.76,0:12:01.32,Default,,0000,0000,0000,,I noticed that I was looking up a lot at \Nthe trees, and I thought of something that
Dialogue: 0,0:12:01.32,0:12:08.04,Default,,0000,0000,0000,,had a sense of industry about it, where the \Nlooking up would be looking through a frame
Dialogue: 0,0:12:08.04,0:12:12.96,Default,,0000,0000,0000,,at the trees and the skies, and that's where \Nthe steel frame structure at the top of the
Dialogue: 0,0:12:12.96,0:12:15.43,Default,,0000,0000,0000,,columns came into existence.
Dialogue: 0,0:12:17.33,0:12:20.00,Default,,0000,0000,0000,,And then \Nto have something that was possibly
Dialogue: 0,0:12:20.00,0:12:25.47,Default,,0000,0000,0000,,left behind in a state of entropy, \Nwhich was these worn out steps.
Dialogue: 0,0:12:28.32,0:12:34.20,Default,,0000,0000,0000,,It's you and the work and the place. \NIt's a very particular relationship,
Dialogue: 0,0:12:34.20,0:12:39.00,Default,,0000,0000,0000,,where there's nothing else coming \Nbetween you and that intention.
Dialogue: 0,0:12:42.24,0:12:45.78,Default,,0000,0000,0000,,Going it alone is a very powerful experience.
Dialogue: 0,0:12:50.22,0:12:58.20,Default,,0000,0000,0000,,I'd love to do a piece that could perhaps go \Nvery near the sea or in some incredibly remote
Dialogue: 0,0:12:58.20,0:13:02.47,Default,,0000,0000,0000,,landscape where the audience isn't a factor \Nof the work.
Dialogue: 0,0:13:05.82,0:13:07.92,Default,,0000,0000,0000,,It's more about the "tree that
Dialogue: 0,0:13:07.92,0:13:12.89,Default,,0000,0000,0000,,falls in the forest, but if you haven't seen \Nit, did it actually happen" kind of question.
Dialogue: 0,0:13:12.89,0:13:14.63,Default,,0000,0000,0000,,[LAUGHS]