JS: You guys seem to have assumed your own distinct and particular roles in the kitchen. How did that come to be?
VF: Probably over time by taste and trial and error! We tend to have our own distinct visions of the meal, so one of us will sous-chef while the other runs the kitchen. Also, we’ve fallen into our strengths—Matt is great with meat and fish and I’ll deal with the veggies and legumes.
JS: You said you are not much of a cook, but you do make a good salad. Is salad making not considered “cookery” in your mind?
VF: I love combining flavors, colors, and textures, which is totally “cookery.” But, there is a whole aspect to cooking that I tend to neglect that has to do with “cooking” by applying heat and other processes.
JS: As an artist couple, you must influence one another’s work profoundly. Matt said he, “brought color to Victoria’s world.” Do you have particular approach or guiding principles when it comes to color? Can you tell me a bit about your future collaboration?
VF: I think we have commonalities in our work that maybe aren’t readily apparent at first glance. We are both converging in sculpture from our respective corners of painting and video, so my guess is some meeting point that is object-based, abstract, and colorful!
JS: You both teach at schools that are not specifically art schools. How does this effect the material you present to your students or your expectations, assuming the majority of your students are not preparing to navigate the commercial art world.
VF: For my part, the things I emphasize in teaching are ideally applicable to life: navigating, with awareness and criticality or the visual material around us from movies to commercials to design. Sometimes students who are not aiming to become artists are more open to seeing and more apt to decode their environments.
JS: What are you looking at, reading about, obsessed by inside or outside of the studio? What is your “salad,” per say?
VF: Looking at and reading about contemporary art takes up a huge chunk of my free time. Within that, over the past year I’ve been very involved in a conversation with other artists and scholars about the influence of haptic touchscreens on artists’ film and video, which means I’m always on the lookout for texts and artists that are part of that, even inadvertently. Also, teaching a film class this semester has me watching movies again. I’m excited to see Todd Haynes’s “Carol”, Apitchatpong Weerasethakul’s new film “Cemetery of Splendor,” and probably a bunch of silly holiday movies.