Because you have this wonderful idea about how you’re going to arrive in a new place, and then you realize very quickly that you are no better than a tourist photographer, who is extremely naïve. And at some level, totally — you’re an alien actually in every shape, and form.1 So, it was not easy. When I started work, I realized that I had nothing to hold on to here. I had no markers, I had no imagery. My work before had been — I mean I was still just 22, so my work, what I’d done in college had been very much about sort of contemporary culture. I realized that I didn’t know anything about contemporary culture. I didn’t have any signs, I didn’t have any markers. I didn’t have any metaphor to hold on to here. So, basically I had no ideas, and I sort of had to start from the beginning. And so, you know, it was quite difficult.
But then there was also so much else to know and learn. And I had met someone new, and we were in love. And Subodh was an artist, and I was an artist. And so, we had a studio, and we decided that we were going to be artists. It was like, yes, we’re going to be artists now. And that meant, I don’t know, at least for the first five years drinking a lot, and staying up really late, and generally not doing very much. But, at least you had the — I think India was interesting because you had this period where actually nobody was paying any attention to anything that was going on here.
So, we were able to make a lot of shit work that nobody saw, and actually make a lot of work. And I think in some ways both us were quite prolific. We make a lot of work, and we make it sort of everyday. And so, we were able to make some really interesting turns, and some really interesting developments in the work. But you know, before that — because no one — we’re able to also make mistakes, and I think you have to allow for that in the practice.