You remember? everyone remembers where they were
Recording 12
HH- How are you feeling?
EN- This section was quite different, felt completely opposite from the previous one. Also because you were so close.
HH- Yeah.
EN- And, held the poses for quite a while and then slow movements. So yeah, it was interesting to go from one to the other.
HH- Yeah.
EN- And, what was funny, you'd be holding the pose and then I'd go change a color or change something and then I'd look up to continue the line that I was working on and be like, oh, where did he go? just like, okay, go on to the next one. No, that was that was interesting.
HH- Yeah.
EN- How about you, being so close to the painting?
HH- That was nice to see you be close, because I get to see you and feel you more. And starting to notice, like, the longer I hold the poses, the more time it gave you to interpret it. Versus over there. Things were more passing through. And then I thought about it. The initial layer was of you and me, I was passing through, and then you were just catching what you were catching in those passing through moments. And then the layer now is, the poses and movements were held longer for it to be more established. And so yeah, I was thinking that.
EN- But what's also happening is because it's oil paint, it's not dry. Right? So, the layers under they are there. And then they're getting mixed up with the layers with the color on top. But it's true it gives me a bit more control. Kind of. I need to be more careful with what's under. So right now, I've been working with white and yellow and started to bring in the reds. So this is like, as we get darker, this is where things are going to, I need to be a bit more careful or not. I want to add, start adding more color, at the same time... definitely some color.
HH- I'd like to photograph this one before I move on. Yeah, it'd be nice to see the different stages.
EN- Because right now it's bright, right? It's like we had the gray under and we've got all this yellow and red. Like the sun's starting to come through.
HH- Yeah.
EN- A bit more. Light tone.
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HH- Don't know if it has meaning, but just memories.
EN- You remember? everyone remembers where they were.
HH - Yeah. I was in fourth grade or third grade, fourth grade. And we were just watching the news in the classroom. And, at that moment I didn't know what to feel. It was my first time as a child witnessing something of that monstrosity, and I couldn't really process it. But it was, I think it was a big learning moment that these unpredictable things are, have been existing in that it's, it's crazy. Where were you?
EN- When I first heard of it, I was on a bus in Jerusalem. And there on the buses, they have music and then the news. They've got the news all the time on the radio. And, but I didn't speak Hebrew properly. So, I didn't understand what it meant. What they had said, like, I understood something. And then I was just like, I thought it was a joke. So I didn't absorb it. But then when I got home, my housemate, she was American. And so, yeah, she told me what had happened. And it was just kind of, it was hard to understand. Like, being so far away, and also being in a completely different war zone. where generally, those things are happening around. Not that big, or not at that scale, but definitely all around. So it's just really strange for it to be in the news. Filter abstract, was hard to connect.
HH- Yeah.
EN- And I think it was right before that, like a few days or the previous week. There had been a, someone had exploded themselves in a Sparrows, which is a sandwich, fast food sandwich place in downtown Jerusalem. And so it was coming from that, that had just happened that was more real. Because it was...
HH- There.
EN - There, yeah. And then this other thing that the whole world was hearing. It was bizarre. It was just, it was a lot to absorb. And I think I was in my, somewhere in my 20's. That by that age you are definitely more aware of the world and what's happening around you. And then there's also, September 11, is also the "golpe de estado" in Chile, when the military took over the government and so this date like growing up, this date was also very important because of that, because it was taking over the government by the military, by Pinochet. And the President was murdered and all those things. So it's a date with
HH- filled, yeah.
EN- That's there's a lot happening. There have been, big lows. And then you've got all your own history, right. And your parent's history that they brought with them.
HH- Yeah, that came learning of that later.
EN- That was later?
HH- Yeah, because I was too young, third, fourth grade, and I didn't learn about my parents history until a little after high school. Like near college. And I also remembered, you know, when 911 happened, I think I sort of just book marked it as a kid and then in high school, I went back to look at the news. And to understand a bit more. And then as, then really taking in the images and like, you know, seeing the people jump out the buildings from such heights and in such dire situation where a or b whatever situation you choose, it's you know, and that really struck...yeah
EN- does it enter into work in any way?
HH- Because if I think about it, you know that moment, that person has two choices either, a, they stay in the building with the fire and the collapse or b, they jump from a couple 100 floors down and I feel, to be able to, makes me more grateful, even more grateful to be able to do what we do and the way we do it because we have so many choices and there's sometimes time in these choices and there's not as you know, just to be able to make choices. Yeah, I'm just grateful.
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EN- I would definitely say that all our experiences, even the ones we are aware or not aware of, everything seeps into, into our art, it all becomes part of us and comes out in our medium through our art.
HH- Yeah.