SPEAKER_C: Haha, Because with printmaking, it's always an indirect process. You're working on a plate, you're working on this or that, and then it's printed.
And only then do we look and ask, well, is this it or not?
Whereas with painting or drawing, there's so much immediacy. You have a brush, you have a canvas, and boom, you put it on there, and that's it.

SPEAKER_01: But what you just said is an interesting contradiction—without it actually being a contradiction for you.
You love it so much that you'd want to make a whole series, but somehow, it doesn't work.

SPEAKER_C: Ah, yes, yes, yes.

SPEAKER_01: Because you want something different. But on the other hand, when you go back to printmaking, the whole point is to make multiple versions of the same thing.
You seem to have an ambiguous relationship with repetition.

SPEAKER_C: Yes.

SPEAKER_01: On the one hand, you resist it because you always want to do something different.
But on the other hand, with printmaking, you're specifically working to print a hundred identical copies.

SPEAKER_C: Yes.

SPEAKER_01: That’s very characteristic of you.
You want to do very different things, and then you do printmaking so you can create the exact same thing, in hundreds of versions.

SPEAKER_C: Yes, yes. Or to vary, or to repeat. Or to improve.

SPEAKER_01: Yes, even when you repeat (while printing), you want variations—focused on difference.
Each piece is unique.