Take a look inside the artist duo's Brooklyn studio.
How important is your subject matter to you?
Image making is at the core of our work. So it's something we think about. We think about the symbols, the meanings, the icons, the nostalgia. I think all of these things go into this... stew. And putting in these different ingredients. It's very cut and paste.
I almost think of it musically sometimes. In the same way that you'd have different tracks, you'd make different sounds and beats....We think about the symbols, the meanings, the icons, the nostalgia.
I think a lot of our imagery is about storytelling. It's about whimsy. It's supposed to be more visceral but give you an opportunity to dive into it. I think we like to make images that feel like the beginning of a story or a part of a story. And from there you fill in the blanks and it means something to you that it doesn't necessarily mean to us.
Oftentimes it's great when we can communicate something that we're feeling through the imagery. But if you can't deliver, I think an image to a viewer where they can't take the reigns from there and project into it. You're sort of missing something. Sometimes that can be very mysterious,
Yeah it seems that you are trying to capture that right one split second in time.
Finding that spontaneity, finding that, uh, that layering process and the unexpected juxtapositions that happen. The way the city's sort of kind of cast this personality to itself where things disappear and appear all the time.
How do you think your life has changed over 20 years?
The process of career has changed over 20 years in the sense that when we were first starting it was all new. You were kind of making it as a went, whereas now you are making it with the reference point, multiple reference points over time. Things that worked, things that didn't, things that you liked. I really love is that we have the opportunity to do those things. And I always have, I think both Patrick and I have these little things in our back pocket where we want to be doing.
I think we have that unique relationship and really know each other, we can push and pull out of each other, knowing that we really have different strengths and weaknesses and, and that's been a really like great dynamic to push and pull.
(Miller) You grow a lot 20 years, your ideas change and romance changes It's nice to see those stories evolve and change as well.
It shows in your work, especially with you tile and woodblock pieces, you have all of these separate pieces that are great by themselves, but all coming together to make something greater.
It's funny because I think a lot about that element a lot. Between us two as a collaboration and working with assistants and other people to help fabricate things. It's all these individual players coming together to make something that's bigger than just all those little parts. Making images is exactly the same way for us. We're taking from all these little bits and pieces, recombining them in a new way.
These little puzzle pieces that are beautiful little objects on their own. But when they come together in the larger narrative, the sum is greater than the parts. I think about that sentiment so often.
(Miller) Yeah, we're inspired a lot by the street. I think by quilt making, like the patchwork, these things that you can kind of patch together like the woodblocks and the pallet pieces. And I think when you walked down the street and you see posters that are like juxtapose and like tiled next to each other, that sense of repetition, all that stuff kinda like comes back in here.
What were your first creative outlets as aa kids.?
My parents got me little art supply kits. They came in a plastic box. I remember that. Dabbling with paints early on, but not really having like an aha moment until like high school.My high school teacher gave me some acrylic paints. I started messing with it. That was for the first time and I was like, Oh my god, I love this.
How did you come across screen printing?
I came across in England, uh, when I was studying abroad. I went to a silkscreen lab. I was studying business at the time so I wasn't allowed to take those classes, but I saw them doing printing and I was like in love with what I saw. But I didn't actually get a chance to do some screening until I went to FIT in New York. I took that class probably like nine or 10 times until like the teacher would let me take it anymore
Do you plan a lot of your work out?
Half and half/ Right now with the paintings, it’s just a freestyle process finding it. it just depends on the situation. it helps to construct it in the computer or at least have the sketches there, so you can kind of move through more variations and then work from there.
What is the name Faile?
I think when we were playing with the the letters and found that word faile, It resonated, the duality of it, you're going to take on a name with a negative connotation, this idea that you have to risk failure to succeed and try things and be willing to like break down things along the way kinda took on that kind of meaning for us.