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R: There was a moment when you – there were these little plaster globules in these paper bags – and you had pointed them out. And that was a moment when I was seeing my work through your eyes. Because you were like, ‘This is work,’ and I thought, ‘Oh, of course. This is what is exciting about this whole thing, is that even in the little shards there are moments – if [the work] is about this form of attention, then that attention can go down to the simplest most direct cast.’ And I think you pointing that out showed me something I had totally forgotten.

F: The way you installed all the little bits made me want to play with that more also – that it could just be a real mess. Cause I love the studio mess, but it’s so hard to find ways to transport that where it’s not a restaging of the work space, because that’s not the same thing. But what you did was to get a sense of what I like about the workspace and put it in a way that was like ‘No, this is work. It’s not a restaging of Rob’s studio.’ But it had the things that I like when you go to a studio and you see all the bits and pieces.