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From YouTube: Artist Interview: Amy Richman & Rebecca Zinner
Description
Being stuck at home and unable to go about their usually routines Amy Richman and Rebecca Zinner are looking at the forced perceptive of their lives have taken on. They plan on documenting their neighborhood and compiling a film that shows the hidden patterns and intricacies they often missed because of their once busy lives. Creative Neighborhoods: COVID-19 Work Projects was launched by the Office of Arts + Culture and Create Boulder: https://boulderarts.org/public-art/creative-neighborhoods/covid-19-work-projects/
B
C
C
So
I
have
a
bit
of
an
interesting
story.
I
was
on
an
icebreaker
ship,
a
german
icebreaker
ship
in
the
central
arctic
ocean
and
in
a
sense
quarantined,
not
the
best
word,
but
it
to
the
same
effect
with
a
group
of
people
and
then
I
got
back,
and
I
got
back
pretty
much
just
in
time
for
a
quarantine
to
start
here
in
the
us
and
that
changed
a
lot
of
the
project
planning
that
in
terms
of
making
the
documentary
film
about
the
expedition.
C
By
the
planetariums
closed.
So
I
was
not
able
to
go
in
and
use
their
production
studio.
So
from
a
practical
sense.
It
was
quite
disruptive
as
it
was
for
everybody
and
yeah
and
then
also
in
the
personal
sense
covet
hit
right
in
time
for
the
end
of
the
ten
year
relationship
for
me,
so
I
I
would
be
lying
if
I
didn't
say
that
really
framed
my
experience
with
the
past
six
months
in
terms
of
making
work.
C
So
I
like
to
go
out
to
a
place
and
then
visit
it
many
times
over
and
over
again,
flower
shops
butterfly
pavilion
a
really
weird
wall
at
a
corporate
building,
just
whatever
it
is
so
I
do
like
to
go
out
and
then
visit
those
sites
over
and
over,
and
that
put
and
so
not
being
able
to
work
in
that
way
was
difficult.
But
I'll.
Let
rebecca
answer
that
question,
because
that
also
kind
of
segues
into
the
project
we're
making
for
this
grant.
B
My
methodology
for
how
I
work
my
work
tends
to
be
very
people
oriented
so
not
being
able
to
or
having
to
social
distance
and
not
being
able
to
really
work
with
people
directly
has
definitely
impacted
my
workflow
and
what
my
work
looks
like
and
then
I
think
you
know
beyond
the
practicals,
just
like
the
emotional
impact.
This
has
been
a
really
trying
time,
presumably
for
everybody,
and
it
definitely
has
an
impact
on
like
okay.
Do
I
even
want
to
do
this
kind
of
work
today?
B
C
A
A
C
C
Yeah
yeah,
no,
the
distance
is
definitely
I
mean
from
the
personal
to
just
work
projects
when
you
are
confined
to
your
room,
working
and
not
able
to
go
out
and
get
that
critical
distance
and
all
the
number
of
ways
you
normally
get
it
or
even
talking.
I
don't
know,
I
guess
you
can
zoom
people
and
talk,
but
there's
something
about
like
meeting
people
in
person.
That's
nice,
like
in
those
conversations
yeah.
A
A
C
Yeah
we
I
mean
the
project
idea
really
came.
I
think,
came
pretty
organically
out
of
conversations
that
we
were
having
like.
I
was
saying
I
like
site-specific
work,
so
I
like
going
back
to
the
same
place
over
and
over
again
and
then
like
coming
up
with
project
ideas
from
that
space,
and
so
I
think
our
project
is
like
is
doing
that,
except
instead
of
going
somewhere
like
it's
just
here
like
this.
C
Is
our
site-specific
place
that
we're
like
observing
and
making
work
from
and
rebecca
who's
like
whose
work
is
very
like
again
people-oriented
and
like
talking
to
people
interviewing
people
and
hearing
their
perspectives?
You
know
not
being
able
to
do
that,
but
you
focus
more
on,
like
okay,
the
visual
cues
of
noticing
who's
around
you,
and
so
I'm
sitting
outside
on
the
porch
a
lot.
And
I
noticed
that
our
like
neighbor
across
the
street
has
her
door
open
constantly
and
she
just
sits
there.
C
And
I
don't
know
if
I
would
have
noticed
that
and
then
rebecca.
Like
I'm
saying
all
of
these
things
that
I'm
noticing
and
then
rebecca
was
able
to
kind
of
like
put
it
into
like
a
coherent
idea
of
like
a
project
which
was
noticing,
like
the
rhythms
and
patterns
of
things,
that
you
wouldn't
normally
notice.
C
B
Yeah,
so
I
mean
definitely
everything
that
amy
said
a
lot
of
this
just
kind
of
originated
from
our
conversations
and
what
we
were
observing
and
I
think
the
the
big
thrust
of
our
project
is
going
to
be
yeah
like
what
do
you
observe?
Where
does
your
mind?
Maybe
go
when
all
of
the
busyness
of
life
is
kind
of
taken
away
and
you're?
B
You
know
where
we
are
in
like
what
we
can
observe
and
we've
kind
of
placed
some
creative
constraints
on
ourselves.
We're
planning
to
do
it
on
a
in
a
24-hour
cycle.
Grab
like
a
minute
of
footage
from
every
hour
and
kind
of
you
know
really
just
like.
Have
us
sit
in
these
places
and
in
these
moments-
and
you
know
see
what
we
see
kind
of
like
a
forced
perspective,
of
what
we've
been
experiencing
just
in
this
little
media
bubble.
C
You
get
to
know
when,
like
I
know
when,
like
the
person
across
the
way
likes
to
check
his
mail,
and
so
like
you
just
like
start
to
notice
these
things,
so
it's
like
getting
to
know
people
but
like
not
talking
to
them,
but
there
is
like
a
mutual
acknowledgement
of
each
other's
presence
like,
like
I
imagine,
they're
like
hey.
I
noticed
you
like
to
sit
out
on
the
deck
at
this
hour
and
stare
at
me
and
stare
at
me.
Getting
the
mail.
A
C
B
C
I
I
guess
I
and
for
the
project
I
do
think,
like
it's
really
cool,
so
I
want
to
bring
it
up
again,
like
rebecca's
idea
to
formalize
it
within
a
24-hour
time
period,
because
again
we're
looking
at
like
cycles
and
rhythms
of
you
know
even
sitting
at
this
table.
Looking
out
the
window
like,
I
wouldn't
know,
if
I
would
necessarily
notice
the
cat
that
runs
by
or
the
flat,
I
probably
wouldn't
notice,
but
there's
things
like
that
that
you
do
notice
more
or
that
you
notice
in
a
different
way.
C
It's
not
just
in
the
periphery
of
your
mind,
like
I
have
to
get
to
work.
You
actually
take
time
to
stop
and
like
look
at
it
like
take
more
time
to
consider
it
than
I
think
you
would
normally,
but
the
idea
of
formalizing
it
within
a
24-hour
time
period,
so
a
minute
from
each
hour,
because
time
takes
on
a
totally
different
meaning
in
covet
quarantine.
C
Right,
like
I
sometimes
don't
even
notice
how
much
time
has
passed
until
I
see
the
recycling
has
been
emptied
and
then
I'm
like
okay,
so
I
have
a
sense
of
different
like
time
is
measured
in
different
ways
like
okay,
the
recycling
was
taken
out.
I
have
no,
you
know
like
a
week
has
gone
by
like
I
have
no
sense
of
what
a
week
is.
B
Yeah,
it
doesn't
quite
register
in
the
same
way
my
extra
tidbit.
I
definitely
feel
like
this-
has
been
this
whole
period
of
time,
has
kind
of
really
forced
me
to
think
about
creative
constraints
and
how
that
can
be
maybe
a
benefit,
but
you
weren't
expecting
I
you
know.
Obviously
it's
a
real
disappointment.
I'm
disappointed
that
I
can't
start
my
film
and
start
interviewing
people,
but
I
still
want
to
keep
working
and
still
processing
this
time
through
art
and
if
anything,
this
is
just
forcing
me
to
think
more
critically,
okay.
B
Well,
how
can
I
do
that
in
a
way?
That's
socially
distanced
and,
and
has
all
of
these
maybe
limitations
or
things
that
maybe
beforehand,
I
would
have
thought
about
limitations,
and
I
think
that
that's
a
lesson
that
can
you
know
across
the
board
be
applicable.
You
know
I've
met
so
many
photographers
or
filmmakers
that
are
like.
Oh,
I
can't
I
can't
make
my
project
until
I
have
the
perfect
camera
or
the
perfect,
whatever
piece
of
equipment,
and
it's
like.