MK I have lived in different houses in London and I don’t really think any have affected my practice directly; it’s more that it totally affects your mood and life structure, like the difference between living as a lodger as opposed to living in a huge shared flat or a studio. I feel a certain level of affection for my house, just out of familiarity.
FF&NO Georgie, in your exhibitions, there’s often a deconstruction of given conditions of space going on. In your show at Project Native Informant, you removed walls and created openness towards the gallery’s back office. How should this strategy be understood? As a reference to institutional critique methods?
GN The show as a whole was about the way industry likes a safe bet. It was the second show I’d done in a commercial gallery and I was asked to do it because of the first. Obviously, this is normal but there are plenty of other artists working in London who could have shown. In some ways, the fact that I’d just done a show should have meant it was someone else’s go. The show consisted of some abstract paintings and the removal of the gallery’s stud walls to reveal the office. I used the same screens to make three batches of paintings in different colour schemes.
The first batch were shown at an art fair, the second in a group show, and then this third batch in the Project Native Informant show. So, in this context, removing the gallery walls was more about repeating a gesture than what it was about in the 1970’s or whenever else it’s been done.
FF&NO Morag, you have a very distinct way of drawing and painting. Is this practice informed by painting itself and embedding itself in this discourse or is it just a natural tool for narration that you apply?
MK I don’t know what is distinctive about it, but yes, I did paint before I started working other ways. I don’t do it so often now, or if I do, it’s just because it’s the easiest way to execute the idea.
FF&NO We’re curious to ask you about your modes of production— basically how you work. Do you have a practice where you continually produce or do you produce for specific contexts and commissions?
GN Just for specific contexts. Sometimes I think it would be nice to make work for no particular reason, or make your own reason, but it never quite happens.
MK I don’t have a permanent studio at the moment so this changed the way I work. I used to go there and do stuff regularly but when I got rid of the studio, it became more about specific context.
FF&NO A question we think is always interesting to ask: what audience are you addressing with your work? Some artists claim that first they always think of other artworks as the primary audience. Other artists really do the work to address an intimate audience, meaning their close circle, who have a critical discourse.
GN I suppose it’s my close circle. I can’t really imagine how anyone else would receive it.
MK Yes, I guess the same, though I don’t know; I feel like depending on the work, this can change.
FF&NO What are your most important references and sources? Are you really devoted to looking at certain protagonists of contemporary art or in art history? Or are you much more inspired by issues and things from totally different elds?
GN I don’t feel like I look at any particular artists. It’s more general.
MK It totally depends. I guess in some ways, it’s just things in life.