Two-seater I’m from Mexico, and am part of Rex Producciones. There are two of us young people, Bernardo and I, and we work in our house. We have a small studio in which we confabulate and create our projects. We are both artists, painters, photographers, and we are very interested in, well, creating images – images in movement, still images. Both of us always like to be creating.

Locally owned We live in one of the most chaotic cities of the world, Mexico City, but where the chaos always seems to have an order and an amazing complexity, where every day has a different face. Being one of the biggest cities of the world, we live in a suburban area that allows us to work near the countryside. Here we have our studio where we are away form the noise and the distractions of the city, and therefore develop our projects without interruption. Most people think that you wouldn’t have time to create, because it’s such a big city. Often it’s like we spend all our time in traffic, driving cars, but that’s where most of our ideas are born. We’re driving and we’re thinking why don’t we do this, or that. Sometimes we walk the streets of our city; there is always something that grabs our attention, some interesting character that is willing to tell you a story, a written phrase along a wall, a heading in the newspaper. Our surroundings will always be filled with new ideas and amazing things, as long as one is willing to see them.

Mayoli & Bernardo’s place See larger image

Steady diet It came from the encounters with everyday images, through which one goes on consuming the world. They’re presented to us through the television, on the streets, in magazines and newspapers, on the cereal boxes that one has breakfast with, all of which, at the end of the day, seem to be the world themselves. We were looking to do something that talked about this phenomenon, the possibility of living the world through them and emphasize the force that these images have on actual society. The people of Mexico live from what they get on television. These are people who may not have access to other kinds of information or culture, aside from what they get through television. So it was a matter of us beginning to question the reality of the things we see through all that media.

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Lunar evolution Our creative process always starts from an idea, an idea that wants to be told in a certain way. We write our proposals; we practice them as a team until we reach an agreement. Everything else is establishing the work outline and let our imagination flow freely, adjust details and to always be happy with what is done, searching, always, for the best result. We wrote the script and the storyboard after we both agreed that the ’60s were filled with symbolisms and specific ideals, such as the landing on the moon or the relationship that the young generation had with war. A 1960s ambience had to be created, the visual aesthetics of it. It began with the search and classification of the images and the clips in Getty Images. We had many images that we could work with but we also are trained in painting, so we wanted to retouch the images and create something new with them, to add certain tones, colors and characteristics that would make them belong to an era, and be part of an idea, an aesthetic concept, so we worked a great deal with the images so they would be just what we wanted.

Three films that have inspired your work? 2001: A Space Odyssey by Stanley Kubrick, Le Voyage dans la lune by Georges Mélies and Alice by Jan Svankmajer.

Extended family Coming from Mexico, this is an entirely new experience for us. Generally we don’t leave our country and don’t share much with people from other countries because we don’t have that much contact with people from abroad. For us it was a very satisfying experience to see that people from other parts of the world like what we’re doing. It makes you realize that there are people like you working around the world, people interested in producing films, in creating like, like we are, that we are not alone, that there are many other things out there. It’s just a matter of people wanting to keep doing things. It’s possible that you might not always find places to show the work, or people who are interested, but maybe at least two or three people who see your work take something with them, and that’s what’s important – that people can see your work and take something home with them after they’ve seen it. If The Next Big Idea were a plate of food? Like a big pozole plate, filled with contrasting colors and flavors.

Mayoli with photographer Mauricio Ubach and a picture of Bernardo at The Next Big Idea premiere in Los Angeles. 71193446, Getty Images Rex View QuickTime