WEBVTT 00:00:07.840 --> 00:00:12.060 [assume vivid astro focus: Spontaneity and Concentration] 00:00:17.720 --> 00:00:19.680 [SUDBRACK] Me and Christophe have been working together 00:00:19.680 --> 00:00:21.680 since 2005. 00:00:23.939 --> 00:00:25.820 I've never lived in the same city as Christophe 00:00:25.820 --> 00:00:27.570 since we started working together. 00:00:28.220 --> 00:00:29.520 At one point I lived in Berlin, 00:00:29.529 --> 00:00:32.549 now I'm splitting my time between Sao Paolo 00:00:32.549 --> 00:00:34.170 and New York. 00:00:34.170 --> 00:00:35.670 And he lives in Paris, you know, 00:00:35.670 --> 00:00:38.800 so we don't actually live in the same place. 00:00:40.080 --> 00:00:41.420 [HAMAIDE-PIERSON] But you want to know the truth? 00:00:41.420 --> 00:00:42.960 I mean, I think sometimes we're like... 00:00:42.960 --> 00:00:44.590 we know each other super well. 00:00:45.100 --> 00:00:47.400 I mean, we've been apart for almost a year, 00:00:47.400 --> 00:00:49.060 physically, on the same continent, we were, like... 00:00:49.060 --> 00:00:50.040 [SUDBRACK] More. 00:00:50.040 --> 00:00:50.960 [HAMAIDE-PIERSON] But since... 00:00:50.960 --> 00:00:51.520 [SUDBRACK] April. 00:00:51.520 --> 00:00:52.440 [HAMAIDE-PIERSON] Yeah, April. 00:00:52.440 --> 00:00:53.220 [SUDBRACK] More than a year. 00:00:53.220 --> 00:00:54.120 [HAMAIDE-PIERSON] Yeah, I mean... 00:00:54.129 --> 00:00:55.189 my God, you're so picky! 00:00:55.189 --> 00:00:57.249 Talking about, yeah, a year and a month! 00:00:57.249 --> 00:00:58.520 [BOTH LAUGH] 00:00:58.530 --> 00:01:00.620 I think our minds are connected, 00:01:00.620 --> 00:01:03.699 but then this like physical thing 00:01:03.699 --> 00:01:05.630 that we need to get used to again, 00:01:05.630 --> 00:01:06.930 you know what I mean? 00:01:08.400 --> 00:01:10.820 [SUDBRACK] I think we needed to focus more. 00:01:10.820 --> 00:01:12.980 We needed something that was quieter. 00:01:13.660 --> 00:01:15.400 When I was making installations before, 00:01:15.409 --> 00:01:18.380 I was creating a space in which people could actually 00:01:18.380 --> 00:01:21.540 be as spontaneous as they would like to. 00:01:22.400 --> 00:01:23.300 But the thing is, for me, 00:01:23.310 --> 00:01:24.950 it was never absolutely spontaneous 00:01:24.950 --> 00:01:26.149 because I had so much, you know, 00:01:26.149 --> 00:01:28.420 production that I had to take care of. 00:01:28.420 --> 00:01:30.310 We felt that we needed to 00:01:30.310 --> 00:01:33.270 do less with other collaborators-- 00:01:33.270 --> 00:01:37.070 and dealing with emails and production issues. 00:01:37.070 --> 00:01:38.539 And I felt like, okay, this is, like, 00:01:38.539 --> 00:01:40.729 one of the reasons why I wanted to make paintings, 00:01:40.729 --> 00:01:44.389 because that way, I can actually be more spontaneous myself. 00:01:47.829 --> 00:01:50.469 I think it's also about getting older, too. 00:01:51.369 --> 00:01:53.789 The pleasures are closer to you. 00:01:56.469 --> 00:01:58.509 For this show in New York, 00:01:58.509 --> 00:02:00.109 even though we influence each other, 00:02:00.109 --> 00:02:02.909 we actually go into different directions. 00:02:03.899 --> 00:02:05.729 I'm making this group of paintings, 00:02:05.729 --> 00:02:08.068 and he's making another group of paintings. 00:02:08.690 --> 00:02:12.210 He's going a more abstract, geometric way. 00:02:12.210 --> 00:02:14.110 I'm thinking more about the figure. 00:02:14.720 --> 00:02:16.740 I just wanted to bring that idea 00:02:16.750 --> 00:02:20.590 that somebody can transform their bodies at their will, 00:02:20.590 --> 00:02:22.730 and that's an act of freedom. 00:02:23.270 --> 00:02:25.030 In our show last year 00:02:25.030 --> 00:02:26.160 in Sao Paolo, 00:02:26.160 --> 00:02:28.730 we made these pieces called "Transgeometric" 00:02:28.730 --> 00:02:31.420 which were half tranny bodies, 00:02:31.420 --> 00:02:33.560 and half geometric shapes. 00:02:33.560 --> 00:02:35.510 So somehow, I felt like these trannies 00:02:35.510 --> 00:02:39.080 could be transformed into a full on 00:02:39.080 --> 00:02:41.260 geometric shape with time. 00:02:42.920 --> 00:02:43.940 [HAMAIDE-PIERSON] This is the position... 00:02:43.950 --> 00:02:45.740 so, you have the...like, this part, 00:02:45.740 --> 00:02:47.750 which is like the butt here. 00:02:47.750 --> 00:02:51.030 And there's like a...how do you say, ball... 00:02:51.030 --> 00:02:52.350 Like a testicle? 00:02:52.350 --> 00:02:54.310 The two nails... 00:02:54.310 --> 00:02:56.120 And here, you have like the other butt, 00:02:56.120 --> 00:02:57.310 with the legs, 00:02:57.840 --> 00:02:59.320 like the thigh. 00:02:59.320 --> 00:03:02.080 Like one boob coming out of it. 00:03:02.080 --> 00:03:03.650 And then here, you have the calf. 00:03:03.650 --> 00:03:05.790 Yeah. Do you see it? 00:03:05.790 --> 00:03:07.920 With like, this is like another boob coming out of it. 00:03:07.920 --> 00:03:09.450 And another one here. 00:03:09.450 --> 00:03:12.550 And then you have the beginning of the foot, 00:03:12.550 --> 00:03:13.930 of the heel here. 00:03:15.280 --> 00:03:17.560 [SUDBRACK] I was looking for a different, sort of, 00:03:17.560 --> 00:03:20.600 representation of the female figure. 00:03:20.600 --> 00:03:23.000 Different from what I usually look at, 00:03:23.010 --> 00:03:26.450 which is like, the...the porn-- 00:03:26.450 --> 00:03:28.150 something that I always somehow 00:03:28.150 --> 00:03:32.500 wanted to absorb in our installations, 00:03:32.500 --> 00:03:37.340 to mix low and high references. 00:03:37.340 --> 00:03:38.620 And now that I'm making paintings, 00:03:38.620 --> 00:03:40.030 I feel like I have to do that 00:03:40.030 --> 00:03:42.970 in one single, iconic image. 00:03:43.440 --> 00:03:44.640 [HAMAIDE-PIERSON] It can be higher, I guess. 00:03:45.300 --> 00:03:46.720 [SUDBRACK] No, I think it should be lower, probably. 00:03:46.720 --> 00:03:47.580 [HAMAIDE-PIERSON] No, but look... 00:03:47.580 --> 00:03:49.000 I like how it's like...you know? 00:03:49.000 --> 00:03:51.640 It's not a line, whereas this is below this one... 00:03:52.020 --> 00:03:53.420 [SUDBRACK] This was pretty much 00:03:53.420 --> 00:03:55.220 the very first positioning 00:03:55.220 --> 00:03:58.050 we had come up with-- 00:03:58.050 --> 00:03:58.850 very quickly. 00:03:59.340 --> 00:04:01.000 [HAMAIDE-PIERSON] But I think sometimes, like the... 00:04:01.010 --> 00:04:03.670 the more spontaneous you are [LAUGHS] 00:04:03.670 --> 00:04:06.350 can be the better, and I think...yeah... 00:04:06.620 --> 00:04:07.890 [SUDBRACK] So we went back, 00:04:07.890 --> 00:04:09.800 we did a few adjustments-- 00:04:09.800 --> 00:04:12.380 that's pretty much the way we thought, at first. 00:04:12.380 --> 00:04:13.920 [HAMAIDE-PIERSON] There was a lot of debate between us, 00:04:13.930 --> 00:04:18.019 if we should just install the painting on the white wall, 00:04:18.019 --> 00:04:20.940 or if we should still conceive some sort of 00:04:20.940 --> 00:04:25.710 special environment to place the canvas on the wall. 00:04:25.710 --> 00:04:28.180 And then we went for the mural, 00:04:28.180 --> 00:04:30.150 which is like a continuation 00:04:30.150 --> 00:04:31.830 of what we would have done in the past 00:04:31.830 --> 00:04:32.770 with wallpaper. 00:04:35.080 --> 00:04:37.819 [SUDBRACK] We start titling our shows 00:04:37.819 --> 00:04:39.830 with these different combos, 00:04:39.830 --> 00:04:42.470 according to the different combinations you could do 00:04:42.470 --> 00:04:44.660 with 'a' 'v' 'a' 'f'. 00:04:48.040 --> 00:04:49.819 [HAMAIDE-PIERSON] The title of the show is 00:04:49.819 --> 00:04:53.219 "adderall valium ativan focalin," 00:04:53.220 --> 00:04:55.480 which are, like, usually drugs which are prescribed 00:04:55.490 --> 00:04:57.979 to cure, like, kids of attention disorder. 00:04:58.740 --> 00:05:01.039 They cannot focus more than 00:05:01.039 --> 00:05:03.119 half an hour in classes. 00:05:04.180 --> 00:05:05.240 [SUDBRACK] It's a big change 00:05:05.250 --> 00:05:07.389 to be concentrated on one media. 00:05:07.389 --> 00:05:08.979 But, we both needed some time 00:05:08.979 --> 00:05:10.650 that was just more devoted 00:05:10.650 --> 00:05:12.189 to the actual making. 00:05:13.900 --> 00:05:14.819 It's a lot of work, 00:05:14.819 --> 00:05:17.870 but actually, I'm having a lot of fun 00:05:17.870 --> 00:05:18.740 and pleasure 00:05:18.740 --> 00:05:21.260 working right on the canvas.