6. You do industrial work and also exhibit in galleries. Do you find the two activities divergent? What do you get out of them?

MSz: There is no contradiction in working for these two distinct worlds. On the industrial side, I respond to commissions and the results must be immediately acceptable to the public. Otherwise, they are deemed failures. The research I exhibit in galleries is more concerned with building up a corpus of pieces over time, one that opens new chapters with every exhibition. The question of trade in this case depends on a collector’s hypothetical desires which either transpire today, in several years’ time or never. Until now, industrial work has been a way to verify my ability to read the world, to understand commercial trends as well as detect commonly shared shifts in taste; industrial products must sell in quantity and thus attract as many people as possible when launched.

7. “Ne plus dessiner” [Draw no more] has been your personal motto and working method since 1996. The phrase was even used as the title of your solo exhibition at the Pompidou Centre in 2011–2012. On that occasion, you declared: “Nowadays I see my work as a disengagement from the expressionism of drawing”. The implication is that foregoing drawing somehow enriches the