Marie Kaus: I think we were very lucky because it was a very trustworthy process, and for me this is very important. We had a starting point, coming back from the residency. From then we were constantly discussing it but there was a lot of trust between us, this meant that we did not have to meet every week and talk it over again and again. We were amazed when we saw the body of work together.
Adeline De Monseignat: It really came together very organically.
M.K: Yes, and without having to work hard at making it be something.
A.DM: There are so many crossovers in our interests anyway. There was a reason why we wanted to do this. It was a case of giving each other space and time to make the work, and this meant that we trusted each other and knew that it would come together. As Marie explained earlier, when she was working on her fall piece, she was here in London and working in the gallery. Meanwhile, I was in Italy, working on my marble piece, and there was a really nice organic mirroring. We were both physically involved in the process and the making at almost the same time. We were both physically challenged by those two pieces. Marie, because her fall piece was so difficult on the body, she had to see an osteopath for a long time afterwards. For me, working with marble meant that I would wake up and have sore wrists and arms. It’s that idea of pushing the boundaries that really comes back to the idea of the horizon, going beyond that thing that seems so unreachable. It was a very revealing process, it the most positive of ways.
M.K: Adeline, you mentioned when you were in Italy that your mentor, who taught you to sculpt, said that when you hit the stone it hits you back. I think that’s how I felt when I hit the mat. We are both really committed to our practice, so we both felt we could give each other space. It would never been a failure, even if something doesn’t turn out right it would still be meaningful, because we are so involved.
A.DM: A lot of the time you see finished pieces of work that feel very safe. I think the notion of failure is a very interesting one. We’re human beings, not superhuman, some things do fail. I remember the day. I was in Italy, it was a Sunday, and I knew she was going to jump. It was like we were twins, connected in someway. I felt so nervous. She had asked a stuntman how to fall.
M.K: I had some advice, but I also dive at the pool. So I have some understanding of the weight of my body, through a void and then having to hit a surface. Obviously when diving its water and here it was quite different. It was interesting to take that falling process into a gallery space. Like the landscape photographs here, including the horizons, the photo I took of the space is a landscape photograph. It is of my landscape, the landscape of the gallery, the space that I interact with. It’s nice to have these two forms of landscape photographs, because, as an artist, you go on residencies in the wide open space, then you show your practice in an urban space.
A.DM: A concrete jungle.
M.K: Yes, but it is still a landscape.