1 00:00:07,840 --> 00:00:12,060 [assume vivid astro focus: Spontaneity and Concentration] 2 00:00:17,720 --> 00:00:19,680 [SUDBRACK] Me and Christophe have been working together 3 00:00:19,680 --> 00:00:21,680 since 2005. 4 00:00:23,939 --> 00:00:25,820 I've never lived in the same city as Christophe 5 00:00:25,820 --> 00:00:27,570 since we started working together. 6 00:00:28,220 --> 00:00:29,520 At one point I lived in Berlin, 7 00:00:29,529 --> 00:00:32,549 now I'm splitting my time between Sao Paolo 8 00:00:32,549 --> 00:00:34,170 and New York. 9 00:00:34,170 --> 00:00:35,670 And he lives in Paris, you know, 10 00:00:35,670 --> 00:00:38,800 so we don't actually live in the same place. 11 00:00:40,080 --> 00:00:41,420 [HAMAIDE-PIERSON] But you want to know the truth? 12 00:00:41,420 --> 00:00:42,960 I mean, I think sometimes we're like... 13 00:00:42,960 --> 00:00:44,590 we know each other super well. 14 00:00:45,100 --> 00:00:47,400 I mean, we've been apart for almost a year, 15 00:00:47,400 --> 00:00:49,060 physically, on the same continent, we were, like... 16 00:00:49,060 --> 00:00:50,040 [SUDBRACK] More. 17 00:00:50,040 --> 00:00:50,960 [HAMAIDE-PIERSON] But since... 18 00:00:50,960 --> 00:00:51,520 [SUDBRACK] April. 19 00:00:51,520 --> 00:00:52,440 [HAMAIDE-PIERSON] Yeah, April. 20 00:00:52,440 --> 00:00:53,220 [SUDBRACK] More than a year. 21 00:00:53,220 --> 00:00:54,120 [HAMAIDE-PIERSON] Yeah, I mean... 22 00:00:54,129 --> 00:00:55,189 my God, you're so picky! 23 00:00:55,189 --> 00:00:57,249 Talking about, yeah, a year and a month! 24 00:00:57,249 --> 00:00:58,520 [BOTH LAUGH] 25 00:00:58,530 --> 00:01:00,620 I think our minds are connected, 26 00:01:00,620 --> 00:01:03,699 but then this like physical thing 27 00:01:03,699 --> 00:01:05,630 that we need to get used to again, 28 00:01:05,630 --> 00:01:06,930 you know what I mean? 29 00:01:08,400 --> 00:01:10,820 [SUDBRACK] I think we needed to focus more. 30 00:01:10,820 --> 00:01:12,980 We needed something that was quieter. 31 00:01:13,660 --> 00:01:15,400 When I was making installations before, 32 00:01:15,409 --> 00:01:18,380 I was creating a space in which people could actually 33 00:01:18,380 --> 00:01:21,540 be as spontaneous as they would like to. 34 00:01:22,400 --> 00:01:23,300 But the thing is, for me, 35 00:01:23,310 --> 00:01:24,950 it was never absolutely spontaneous 36 00:01:24,950 --> 00:01:26,149 because I had so much, you know, 37 00:01:26,149 --> 00:01:28,420 production that I had to take care of. 38 00:01:28,420 --> 00:01:30,310 We felt that we needed to 39 00:01:30,310 --> 00:01:33,270 do less with other collaborators-- 40 00:01:33,270 --> 00:01:37,070 and dealing with emails and production issues. 41 00:01:37,070 --> 00:01:38,539 And I felt like, okay, this is, like, 42 00:01:38,539 --> 00:01:40,729 one of the reasons why I wanted to make paintings, 43 00:01:40,729 --> 00:01:44,389 because that way, I can actually be more spontaneous myself. 44 00:01:47,829 --> 00:01:50,469 I think it's also about getting older, too. 45 00:01:51,369 --> 00:01:53,789 The pleasures are closer to you. 46 00:01:56,469 --> 00:01:58,509 For this show in New York, 47 00:01:58,509 --> 00:02:00,109 even though we influence each other, 48 00:02:00,109 --> 00:02:02,909 we actually go into different directions. 49 00:02:03,899 --> 00:02:05,729 I'm making this group of paintings, 50 00:02:05,729 --> 00:02:08,068 and he's making another group of paintings. 51 00:02:08,690 --> 00:02:12,210 He's going a more abstract, geometric way. 52 00:02:12,210 --> 00:02:14,110 I'm thinking more about the figure. 53 00:02:14,720 --> 00:02:16,740 I just wanted to bring that idea 54 00:02:16,750 --> 00:02:20,590 that somebody can transform their bodies at their will, 55 00:02:20,590 --> 00:02:22,730 and that's an act of freedom. 56 00:02:23,270 --> 00:02:25,030 In our show last year 57 00:02:25,030 --> 00:02:26,160 in Sao Paolo, 58 00:02:26,160 --> 00:02:28,730 we made these pieces called "Transgeometric" 59 00:02:28,730 --> 00:02:31,420 which were half tranny bodies, 60 00:02:31,420 --> 00:02:33,560 and half geometric shapes. 61 00:02:33,560 --> 00:02:35,510 So somehow, I felt like these trannies 62 00:02:35,510 --> 00:02:39,080 could be transformed into a full on 63 00:02:39,080 --> 00:02:41,260 geometric shape with time. 64 00:02:42,920 --> 00:02:43,940 [HAMAIDE-PIERSON] This is the position... 65 00:02:43,950 --> 00:02:45,740 so, you have the...like, this part, 66 00:02:45,740 --> 00:02:47,750 which is like the butt here. 67 00:02:47,750 --> 00:02:51,030 And there's like a...how do you say, ball... 68 00:02:51,030 --> 00:02:52,350 Like a testicle? 69 00:02:52,350 --> 00:02:54,310 The two nails... 70 00:02:54,310 --> 00:02:56,120 And here, you have like the other butt, 71 00:02:56,120 --> 00:02:57,310 with the legs, 72 00:02:57,840 --> 00:02:59,320 like the thigh. 73 00:02:59,320 --> 00:03:02,080 Like one boob coming out of it. 74 00:03:02,080 --> 00:03:03,650 And then here, you have the calf. 75 00:03:03,650 --> 00:03:05,790 Yeah. Do you see it? 76 00:03:05,790 --> 00:03:07,920 With like, this is like another boob coming out of it. 77 00:03:07,920 --> 00:03:09,450 And another one here. 78 00:03:09,450 --> 00:03:12,550 And then you have the beginning of the foot, 79 00:03:12,550 --> 00:03:13,930 of the heel here. 80 00:03:15,280 --> 00:03:17,560 [SUDBRACK] I was looking for a different, sort of, 81 00:03:17,560 --> 00:03:20,600 representation of the female figure. 82 00:03:20,600 --> 00:03:23,000 Different from what I usually look at, 83 00:03:23,010 --> 00:03:26,450 which is like, the...the porn-- 84 00:03:26,450 --> 00:03:28,150 something that I always somehow 85 00:03:28,150 --> 00:03:32,500 wanted to absorb in our installations, 86 00:03:32,500 --> 00:03:37,340 to mix low and high references. 87 00:03:37,340 --> 00:03:38,620 And now that I'm making paintings, 88 00:03:38,620 --> 00:03:40,030 I feel like I have to do that 89 00:03:40,030 --> 00:03:42,970 in one single, iconic image. 90 00:03:43,440 --> 00:03:44,640 [HAMAIDE-PIERSON] It can be higher, I guess. 91 00:03:45,300 --> 00:03:46,720 [SUDBRACK] No, I think it should be lower, probably. 92 00:03:46,720 --> 00:03:47,580 [HAMAIDE-PIERSON] No, but look... 93 00:03:47,580 --> 00:03:49,000 I like how it's like...you know? 94 00:03:49,000 --> 00:03:51,640 It's not a line, whereas this is below this one... 95 00:03:52,020 --> 00:03:53,420 [SUDBRACK] This was pretty much 96 00:03:53,420 --> 00:03:55,220 the very first positioning 97 00:03:55,220 --> 00:03:58,050 we had come up with-- 98 00:03:58,050 --> 00:03:58,850 very quickly. 99 00:03:59,340 --> 00:04:01,000 [HAMAIDE-PIERSON] But I think sometimes, like the... 100 00:04:01,010 --> 00:04:03,670 the more spontaneous you are [LAUGHS] 101 00:04:03,670 --> 00:04:06,350 can be the better, and I think...yeah... 102 00:04:06,620 --> 00:04:07,890 [SUDBRACK] So we went back, 103 00:04:07,890 --> 00:04:09,800 we did a few adjustments-- 104 00:04:09,800 --> 00:04:12,380 that's pretty much the way we thought, at first. 105 00:04:12,380 --> 00:04:13,920 [HAMAIDE-PIERSON] There was a lot of debate between us, 106 00:04:13,930 --> 00:04:18,019 if we should just install the painting on the white wall, 107 00:04:18,019 --> 00:04:20,940 or if we should still conceive some sort of 108 00:04:20,940 --> 00:04:25,710 special environment to place the canvas on the wall. 109 00:04:25,710 --> 00:04:28,180 And then we went for the mural, 110 00:04:28,180 --> 00:04:30,150 which is like a continuation 111 00:04:30,150 --> 00:04:31,830 of what we would have done in the past 112 00:04:31,830 --> 00:04:32,770 with wallpaper. 113 00:04:35,080 --> 00:04:37,819 [SUDBRACK] We start titling our shows 114 00:04:37,819 --> 00:04:39,830 with these different combos, 115 00:04:39,830 --> 00:04:42,470 according to the different combinations you could do 116 00:04:42,470 --> 00:04:44,660 with 'a' 'v' 'a' 'f'. 117 00:04:48,040 --> 00:04:49,819 [HAMAIDE-PIERSON] The title of the show is 118 00:04:49,819 --> 00:04:53,219 "adderall valium ativan focalin," 119 00:04:53,220 --> 00:04:55,480 which are, like, usually drugs which are prescribed 120 00:04:55,490 --> 00:04:57,979 to cure, like, kids of attention disorder. 121 00:04:58,740 --> 00:05:01,039 They cannot focus more than 122 00:05:01,039 --> 00:05:03,119 half an hour in classes. 123 00:05:04,180 --> 00:05:05,240 [SUDBRACK] It's a big change 124 00:05:05,250 --> 00:05:07,389 to be concentrated on one media. 125 00:05:07,389 --> 00:05:08,979 But, we both needed some time 126 00:05:08,979 --> 00:05:10,650 that was just more devoted 127 00:05:10,650 --> 00:05:12,189 to the actual making. 128 00:05:13,900 --> 00:05:14,819 It's a lot of work, 129 00:05:14,819 --> 00:05:17,870 but actually, I'm having a lot of fun 130 00:05:17,870 --> 00:05:18,740 and pleasure 131 00:05:18,740 --> 00:05:21,260 working right on the canvas.