Stephanie Syjuco: You know, everybody knew.
Tim Gunn: They shut you out. I wasn’t expecting that.
Syjuco: Which has implications: Orientalism, domestication, the exotic, foreign versus domestic.
Gunn: It’s a much broader dialogue, and I find it much more interesting.
Syjuco: Yes. It has limitless potential.
Gunn: And every night at 7 o'clock I burst into tears.
Syjuco: So the backdrop is becoming the foreground.
Gunn: But that happens a lot.
Syjuco: I wanted the viewer’s mind to wander, and I wanted it to start making connections that you can’t easily speak of in a linear manner.
Gunn: How spectacular is the footage? It’s cinematic. It’s otherworldly.
Syjuco: They’re each 20 feet long.
Gunn: I pummel people with questions, because I can’t begin to respond to their work until I know what’s going on. What are their goals? What was their point of departure? How do they feel about the work?
Syjuco: They are full of documents, photographs, notations, and all sorts of weird things. They’re quite cheap.
Gunn: I’m not who they are. I frequently disagreed.
Syjuco: You’re getting ready to paint it something else.