(Q - Isidore: were the visuals made a year before?)
MB : I really liked the parallel with the cooking recipe for the 4-center spiral.
I started painting my paintings in 92 because we were in discussion with the sponsor, the sponsor had said yes to start building this hunt with him, with a certain number of criteria, parameters and I had the specifications in 92.
(Q - Isidore: was Max able to see the visuals as they were created or just at the end?)
MB : no, he never saw them in reality, he only had the photos.
(Q - Isidore: he didn't see them physically but he saw photos all the same, yet the paintings are signed from 1993?)
MB : this is the moment when I finished it was the year of launch of the hunt and as I told you, I worked on them all together, I took the time and very often I I have paintings that are not signed and then one day I put a final touch and then I sign them.
(Q - Isidore: the aim of my question is to know if Max had the possibility of seeing the monitoring of your tables and possibly getting an idea of ??the possible pareidolia that he could find there and that they could have used when he restructured these puzzles a bit?)
MB : no then he never saw them, he never followed the evolution of the paintings and the pareidolia that you are talking about, I think that is not what concerned him the most at the start, apart from the few retouches that he made me do, but which are not huge, on the other hand I understood that he had reacted on certain paintings, because well, we cannot always hide when we are on the phone and when he speaks of the photos he had, you can't always hide your reaction, so I understood that there were certain paintings that must be more evocative than others through his words, I'm not sure I remember everything besides, because it didn't strike me more at the time, I remember certain things and it's true that when I had access to the puzzles [Bioposis MB : he meant solutions I think] and that I was able to understand the whole story at that moment, yes...
MB : I really liked the parallel with the cooking recipe for the 4-center spiral.
I started painting my paintings in 92 because we were in discussion with the sponsor, the sponsor had said yes to start building this hunt with him, with a certain number of criteria, parameters and I had the specifications in 92.
(Q - Isidore: was Max able to see the visuals as they were created or just at the end?)
MB : no, he never saw them in reality, he only had the photos.
(Q - Isidore: he didn't see them physically but he saw photos all the same, yet the paintings are signed from 1993?)
MB : this is the moment when I finished it was the year of launch of the hunt and as I told you, I worked on them all together, I took the time and very often I I have paintings that are not signed and then one day I put a final touch and then I sign them.
(Q - Isidore: the aim of my question is to know if Max had the possibility of seeing the monitoring of your tables and possibly getting an idea of ??the possible pareidolia that he could find there and that they could have used when he restructured these puzzles a bit?)
MB : no then he never saw them, he never followed the evolution of the paintings and the pareidolia that you are talking about, I think that is not what concerned him the most at the start, apart from the few retouches that he made me do, but which are not huge, on the other hand I understood that he had reacted on certain paintings, because well, we cannot always hide when we are on the phone and when he speaks of the photos he had, you can't always hide your reaction, so I understood that there were certain paintings that must be more evocative than others through his words, I'm not sure I remember everything besides, because it didn't strike me more at the time, I remember certain things and it's true that when I had access to the puzzles [Bioposis MB : he meant solutions I think] and that I was able to understand the whole story at that moment, yes...