(violin & piano play softly) (Ann) It’s kind of quiet in our work; I mean, there’s like a quiet quality, I think, to all of our pieces, almost like it’s a visual poetry. (Dean) I was shy when I was a kid and I felt that by making sculptures, that draw you in, and you have to participate with was another way of connecting. Dean’s a mechanical sculptor, and I’m a mixed media painter. It’s almost like the moon represents something that’s kind of spreading goodness and knowledge. (Ann) We’ve been working together for about 25 years, and we’re a couple! (flute plays softly) ¶¶ ¶¶ (Dean) I think a lot of the earlier anima, which I’m kind of drawing from, those were 18th-, 19th-century wooden sculptures. They had a wonder to them, but there were also moral tales too. The monkeys that would hit the cymbals or the drunkard that would drink. You’re kind of getting close to my plan in the universe of art-making. ¶¶ ¶¶ (Ann) Mine’s kind of like a girl’s jewel box. There’s a female in it and she exists in the world of the fantastic where small things have great charm. My inspiration tends not to be so much art-related, but it’s other handmade things or commercially made things in the world. Like I love design magazines, I love illuminated manuscripts, anything where color and pattern kind of overlap. I like to exist in the world that I paint. My paintings do document who I am. I much like, I love Frida Kahlo’s work and that’s one thing I really love about her work is that she is in them, then there’s all these little cues on who she is by the animals in them, by the color, the way that the light looks. So I feel real inspired to do that with my work. (Dean) I can remember early on when I was going to art college, and I was noticing people were only spending a second or two with each painting, and I thought, I can improve on the duration by adding a machine component to it. ¶¶ ¶¶ I’m often asked how I learned to make things move, and I often say, “It’s genetics.” My great grandfather was a cabinetmaker, a coffin maker, and a watchmaker and he emigrated from Germany about 140 years ago, and this was one of his prize possessions that he brought with him. It’s a magic lantern, and it just amazed me how close these things are to what I make. That will light up. (Ann) People often ask us how do you do this with your husband? Somehow, it just kind of works out. It was almost like it was meant to be, that we do this. You know what I’m saying Dean? (Dean) Yeah. (Ann) We’ll decide if it’s a good idea and then I’ll end up doing the painting. So that’s one of the ways that we collaborate. These two are pretty similar. Sometimes I’ll work right off of his original. People think artists, oh it just flows out of you, you know like, from a child were you the one that could draw? “Uh, no.” Were you this creative genius. Uh, “no,” It’s like we just work really hard and try to keep making it be something that interests us. And hopefully, if it interests us enough, it will interest other people.