So, my production process is relatively flexible. Usually, what my production or my, like, artmaking actually
looks like, is I’m in the studio and making files or things or sketches that might never see the light of day or may
very soon, I suppose. And then when I kind of get a thing or a set of things to a point where I’m interested in,
maybe like, fabricating them or having them produced, I have to basically take some time to prepare those files
to get ready to be fabricated. Whether that’s, in the case of print files, adding like print bleed and cutting paths
and everything, because all of the prints are shaped in these kind of, like, irregular shapes that are cut out of,
like, large aluminium dibond boards. Or whether that is, in some cases, finding the materials and the right way
to do it or even the right fabricator for a thing. Typically, I work with, three or four different, like, fabrications
sources, that I just have built up good relationships with and that I like and trust and know that they’re – how
do I put it – know that, like, I can appreciate their quality, I guess, and the objects that I make, basically. For
example, I’ve been working with the same printer and the same, like, print production manager for, I’d say,
almost eight or nine years at this point. So, we’ve gotten to a point where it’s kind of this feedback-loop in a
way where, you know, I’ll have an idea of I want to make a print or what I wanna do with it, for example. Or I’ll
have an idea of how I can maybe make it better, make the colours richer or something like that which is like a
very, just, mundane physical concern. And then, either she’ll work on that with me or forplays[?] me a different
material, basically, that we’ll investigate together or a different machine that maybe wasn’t existing when I first
started printing with them, for example. If you walk into my studio, it’s not – you know, I have like friends and
friends who are painters who will walk into their studio and there’s like sketches for things everywhere and
there’s source material and there’s stuff that didn’t work and there’s stuff that did work and I have all of that
but it’s actually like all in my computer, basically, so, ironically, you know, it’s almost like both, like the labour
of like figuring out the ideas and the labour of producing the work is something that actually is kind of like a
representational problem for like – or like a problem of representation, I guess, within my studio, like if you
went in there, it might not even be clear that anything’s happening [laughs], if that makes sense. It’s hard to
say when something has failed, because I think, honestly, you know, a lot of, like – I think the term, like, „This
artwork failed“ or something doesn’t totally make sense, ‚cause a lot of like very good art, I think, fails at
whatever it’s trying to do or just if you were considering it as – if you were even considering it was trying to do
something – often fails and that sometimes what is interesting about it. For me, when I consider a work to be a
success, I think, it’s often because I have seen some way in which it has resonated with other people. So for
example, when I first started doing the Image Objects, it was really interesting to see people kind of take the
things that, like that images that I was making, the Altered Installation Views that I was making and either, like,
make their own versions, without of like respect or mockery, frankly. For example, there was a – Like, one time
someone pistoled[?] to me anonymous, I don’t know who this person was, like, sent me a, like direct message,
when I was still on Facebook, basically and with just a link to a Tumblr with a single image on it. The Tumblr
was called partyvierkant.tumblr.com and it was like a photograph of one of my works with an image of like,
people having a party in front of it and it was all photoshopped and it was just like a stupid joke, basically. But I
thought, you know, I had that feeling, this is interesting because it’s like – I mean, partially, it’s just someone
trying to kind of be like, reach out to me or get a rise out of me or whatever they wanted to do, I don’t know. But also just that like, somebody actually took the time to do that, if that makes sense. Like, those moments are really interesting to me.
