How much time does an artist spend in his studio? Is it a sacred place? This week In the series 'The studio of': Flexboj & L.A. (26)
Do you visit your studio every day?
We are at our studio almost every working day, varying in time. This does not mean that we actually paint every day, but being present in the studio, looking at – and thinking/talking about – the work is at least as important as the painting itself. On the other hand, we don't go on the weekend, because it is healthy for the head to let the work process rest. In addition to the entire art scene, we also have a private life, we are not separated from reality. We also have relationships in daily life (partners, family, friends) that we like to maintain. We ultimately see Flexboj & L.A. as the moniker under which two individuals operate as one artist. In addition, our private lives do not really matter and those things are automatically separated.
What time do you leave for your studio, and how: on foot, by bicycle, public transport or car?
Flexboj: I leave at dawn at 7 am. I am usually at the studio until 2 – 3 pm, just to be home in time to walk the dog.
L.A.: I'm leaving promptly at 9:00 AM. I stay there until 4 – 5 pm. I've arranged that with my girlfriend, because she doesn't have time to cook.
Our current studio is located in Kontich. So we take the train from Brussels to Kontich-Lint. From there, we bike to the studio.
Do you hold on to certain rituals in your studio? Music or silence?
The only ritual we have is upon arrival in the morning. First take the elevator to the top floor, then we put on our work clothes, and then make coffee. This is how every studio day starts. The only sound that doesn't come from us is the neighbour's parakeets. There is never really any music on it, because it is not listened to as soon as we are working. The moments that we are present together, we are in constant conversation about work. There is no simple answer to the question: 'How do you paint?' These conversations form the basis of our practice. These are about every aspect of the job. In an organic way they follow - or lead to - the decisions that are made on the canvas. They are a way to give each other freedom and at the same time place the work under one moniker: Flexboj & L.A.
Is light important to you?
That's pretty important. Our studio is located in an old office building, on the top floor. It is a rectangle measuring twenty by five meters. We are lucky that one of the twenty-meter walls consists entirely of windows, so we always have a lot of light and paint in daylight. On winter days, when it is already a bit darker, we switch on white tube lights so our view isn’t clouded by discoloration or shadow play.
What does your work process look like? Do you work everywhere and all the time or does work only commence the moment you enter your studio?
We regularly get asked that question as an artist duo. There is no fixed work procedure for us. The most important element of our work process are the conversations we have about our work, the decisions we make together. That's a constant. The way in which the ideas and insights that arise from this are translated into paintings is not fixed and is always different. In our studio we have an archive with hundreds of books and found objects that can be the start of a new work. So the most important work is done in the studio, but it is also possible that things that we see in daily life in some way or form manifest itself in a work. For example, it has already occurred that a work originates from a piece of paper that hung in Aldi or from a pattern on a fabric that we came across in the thrift shop. In the places you visit, you can always discover interesting things that can later be used as a starting point. If you put it this way, we are actually constantly working.
How much time do you spend on average per day in your studio?
We are each there five to six hours a day, of which three to four hours overlap.
Is your studio a sacred place?
We wouldn't call it sacred, but it is a place that is private in a way. We like to keep to ourselves and, for example, would not be able to work in a studio where other artists are also present, as this would only cause distraction for us.
Do you receive visitors there from collectors, curators or fellow artists?
Over the years, all sorts of people have come to our studio. Collectors, gallerists, curators, journalists, other artists, friends, family, etc. Everyone is welcome in principle, but lately we've become a bit more reserved. The studio is the place where the work is created and an exhibition is the place/occasion where the work is shown. We try to keep those two worlds separate, it should not be a waste of time or a disruptive factor. If someone comes over, you stand to lose a whole day, and if three people want to come by in a week, you've almost lost that week. Our time is precious. There has to be a certain level of trust with the person stopping by.
What is the most beautiful studio you have ever seen?
Because we see a studio as a workspace, we don't think the beauty of that place is important. Of course a castle or a modernist building in a beautiful natural area is beautiful, but when you look at works of art, you don't look at that. We sometimes visit artists who have ten times as much space as us and you can be jealous of that, but we wouldn't call those studios beautiful.
What does the ideal studio look like?
The ideal studio is like 10 million euros in your bank account. You can dream of it, but it is not very realistic. Over the years we have always adapted to the space that was available. If a studio meets certain basic conditions, such as light, sufficient space, accessibility, a toilet and a minimum of comfort, we have long been satisfied. Of course, it would be fantastic to have a gigantic warehouse with different floors that are all perfectly lit and where everything is cleaned up for you, but as we said… you can only dream of that.