that we can co-create by 2030. So I thought this sounds like a good start. [claps] [Ella introduces artist’s Alexandra Gribaudi and Theodore Plytas] Theodore: Alexandra: Theodore: Alexandra: Theodore: Alexandra: I guess our piece is about making, and how we find faith in making and persevering for my part. Yes, we were like let’s have a challenge for ourselves just to show how much faith there is in making, and how when you do art you really have to have faith in your process, and have an idea and be like ‘ok let’s do it’ so we started with the idea of making a hundred sculptures and a hundred photograms and then we just went with it. Alex comes from a Fine Arts background, which is more sculptural, and I come from a more photography background which is, I guess, simpler in a 2D way. We wanted to make a piece that would merge both sculptural and photography. We’ve been working together for a year now, and it is strange when you’re coming from different sides, although you have very similar ideas and interests and it comes naturally to work together. And we thought this project was a perfect way of really establishing and opening both of our practices to each other. When you have faith in something you have to sacrifice other things and when you work together you realise that nothing is going to never end up like you wanted to be and you have to find a middle ground. And I guess we are in a relationship, so, we have to sacrifice to be together, and that is what life is about. [laughs] Grace: Theodore: There is something about the scale of the work as well, you were talking about the process as being one that had faith, that faith was entangled in it, and I think because there are a hundred pieces, you did clearly put your faith to the test and you were really pushing yourself to the point where maybe you tested your faith in the project? As I feel like with every creative process, if the project is 6 weeks, 6 months, 6 years, you have this constant existential crises from the beginning to end, [laughs], and I think it is interesting to talk about your personal creative process as one that whether faith was in the work or you two as a collaborative team or just the idea. I think it is important to make those things sacred as they’re hugely important to you as individuals and the processes. You can really tell that the process itself was quite testing. Because there are a hundred, it almost feels like a big journey. It felt like that too.
[laughs, claps] [Kevin Uchiha is selected to be the next one to speak] Kevin: Theodore: Kevin: Ella: Kevin: Ella: To go back on this piece in particular, I think what I enjoyed was the documentation of evolution, it is the evolved process of the shards of metal I am looking more at the correlation of the shape with regards to certain things that I can pick out from, but I do not know to what extent it was intentional and to what extent the shape would effect the final outcome at the very end. Thank you. With Faith to my take, as a concept, it is important. I think it comes in very different shapes and sizes, the most typical form of Faith amongst humanity is actually only found amongst the very precipice of defeat, so I think we only refer to faith as a tool when you have nowhere else to go. [Do] you think faith is a tool that should be used when people are very low and seeking it Or used when you are happy as well? As in it should not be used as like a panic button like ‘oh I’m going to find something to believe in because I am in a bad place?’ People should use faith a… Yes, with the best methodology to it. Especially with regards, let’s say technology being a huge variable today I think the inherit faith, the trust that is expected amongst corporate companies that we put into, let’s say Apple for example, you are trusting your bank account that tells you stuff, in a way it is evolving that we like it or not. I think this exhibition shows how varied the opinions and ideas surround one word. Grace you want to talk about your work? It would be interesting to hear as yours has something quite different to what we’ve talked about in terms of nature. [Ella introduces artist Grace McLoughlin] 27