Corentin Canesson begins this interview on the “amateur/professional” dichotomy (in reference to the work of Ana Jotta presented in La vie des tables) to invite Sarah Tritz to evoke her influences that extend beyond modern and contemporary art, such as art brut, folk and popular art, the childlike gesture, and how they nourish her work. She explains how she weaves a link between these forms by appropriating them, and underlines her taste for freedom and carefree gesture, particularly through addressed works.

They also evoke their relationship to the curatorial experience they share, and the pleasure they derive from it, as well as the political dimension of their respective work, which may not be perceived as obvious, but which they underline notably through transmission and teaching, and with regard to the current context.