Debbie Millman

One of the things that I've noticed about your work, particularly Seed, the installation that was in two spaces in New York City, was that the sculptures that you make, these vessels, the eyes are always open.

Sometimes the mouths are open as well, but most of them are closed.

I'm assuming that these are very deliberate, conscious decisions.

Can you talk about that?

Because though they're anthropomorphized, they feel very real.

They don't feel there's a step between real humanity, anthropomorphized humanity.

So can you talk a little bit about that?

There's been a lot of writing in the last couple of years about how artists of any discipline are vessels for creative communication.

Rick Rubin talked about that in his book, The Creative Act.

Elizabeth Gilbert talked about that in her TED talk about how we have to be open to the idea of creativity coming through us, that we are the muse for creativity.

and allow that creativity to be born through our work.

Do you feel that way as well?

How do you feel like that happens?

I'm waiting.

I'm like, come on, come on.

Come through.

How does that feel?

How involved do you feel you are in determining the aesthetic?

If there's something that you're making, are you in the process while making also evaluating the making?

It's tuning to it.