Two speakers tour Alexis Harding's studio to see rarely displayed artworks. The pieces move with a shuddering, bouncing motion that recalls early computer graphics and screensavers. They debate whether the works are compelling or absurd, and consider how to show them in a larger space.
and you had this collection, no one ever showed them. Yeah, exactly.
Yeah, yeah. I'll just do a little video actually. Do please.
Yeah, I mean, these things you have to see when there's nothing else around. Yeah, shuddering. Absolutely. Yeah, when they start bouncing, they start to— they relate to relational painting, but also I think a kind of screensavers and early You know, they're computer games. Oh, that's right.
Yeah, yeah, yeah.
They could be— some people really like them, some people think they're just absurd. I'm in the middle. You've got to be a bit longer. Yeah, exactly.
Yeah. But yeah, yeah, I mean, you have to honor your ideas, you know, even if they're— that's right. They look good on film, actually. Yeah, I do like this one. Just need a bigger house. Yeah. Maybe put it back against the, uh, the pink one. Yeah, is that all right?
Yeah, cool. Good.
Oh yeah, that's a nice little one, isn't it?
Okay.
