| Our collaboration began, and has continued, as a process of giving each other “open” artworks for the other sibling to continue until it reaches what we feel to be a concluded state. The work is made often without conferring, with both of us preferring to discuss the work at either end of its creation. Once the work has exchanged hands, it could be perceived as being in new ownership and translated according to our vision. Within this process, the work is a mediator for our dialogue, and gives us a focal point for a fresh network of infinite interrelations. The decision to work together happened at a time when both of our individual practices had begun to involve drawing, and we feel the act of drawing has an importance within our collaborative practice as a regenerative process. |  |
Our collaboration began, and has continued, as a process of giving each other “open” artworks for the other sibling to continue until it reaches what we feel to be a concluded state. The work is made often without conferring, with both of us preferring to discuss the work at either end of its creation. Once the work has exchanged hands, it could be perceived as being in new ownership and translated according to our vision. Within this process, the work is a mediator for our dialogue, and gives us a focal point for a fresh network of infinite interrelations.
The decision to work together happened at a time when both of our individual practices had begun to involve drawing, and we feel the act of drawing has an importance within our collaborative practice as a regenerative process. All of our work can be considered as drawing, though it now involves more extended processes such as animation, photography, and painting within its production.
Our current work consists of grayscale grids drawn by hand, folded, and photographed, giving the viewer an image akin to the slick and illusional interior of a virtual landscape. Painted onto the surface of these glossy photographs or layered on acetate are bright lines containing baroque, psychosexual form and “anti-structures.” These thrill-seeking shapes and residue of a collapsed society clash against the backdrop that is not only a utopian’s sketch, but also an empirical view of the world. Both hover on the cusp of change.
We are interested in the processes of making artwork, the negotiations that artists have to go through in order for their ideas to meet the world, and how this can subsequently alter the work and its viewing. We are currently working on Crystal Cathedrals, a series of drawings influenced by Renaissance-style, postmodern shopping centers and contemporary places of worship.
