01x05 - The Mind of Paige Bradley, Inspiration through Fire

[bunniefuu]

Since Arch Motorcycle began,
curiosity has been our lifeblood.

Everything we do is
inspired by the world around us.

I think the most significant
thing that we're dealing with

is architecture as a way of
opening up people's minds.

Visionaries who
are changing the world

allow us to learn from
their perspective.

And they inspire us
to think differently.

Human creativity
can be found and inspired

by everything in
the natural world.

It can change.

- Your perspective can change.
- Yeah.

You need to experiment and
sometimes try different things,

especially when you
are experimenting

to create something that
hasn't been done before.

Innovation usually means
pushing things to the edge,

and sometimes it
means going beyond it.

Holy sh*t!

I feel like
nothing is hurt with me.

Ooh! It's quite
a lot of damage, eh?

I know. , man.

Quite a lot of damage.

I think it felt so good

that maybe I was, for the conditions,
the time of day and everything,

- I got a little overconfident.
- Yeah.

And I crashed
our only prototype.

It was just a little tip-over.

It was a little tip-over
at 115 miles an hour.

And I think you
had missed a detail

which we discovered afterward

that you hadn't engaged your...

- My airbag, my safety net.
- Your safety net.

I do feel lucky to basically
walk away from that.

Yeah, you scared the
sh*t out of everybody.

Whenever things
don't go as planned,

like they did in Croatia,

it can feel like
a step backward.

But there are some
who embrace it,

like a world-renowned
sculptor who found her voice

by breaking everything,
and starting again.

In the process
of creating sculpture,

destruction is very common.

I needed to expand, and
not be afraid of breaking.

It was okay to show my cracks.

This wax is
a good temperature.

Okay.

That's great, yeah, because we've got
the figure in a good place right now.

Every artist has their own
way to communicate with the world.

Paige Bradley tells her stories
with fire and molten metal,

a visionary sculptor

whose work has captured
the collective imagination.

The human body was
always a perfect vehicle for me

to communicate the
human condition.

Michelangelo said
every human emotion

can be portrayed
through the human body,

and I feel like
in today's world,

we have so many human emotions
that they didn't get to speak of

that could be talked
about using the figure.

And it tells our
story as human beings.

This is "Expansion," my baby.

This is a large version of her.

Some works of art
take on a life of their own,

and that is the
story of "Expansion,"

the sculpture that announced Paige
Bradley's arrival to the world.

In 2004,

I moved to New York City
without knowing anybody.

I found a fantastic studio in
Brooklyn in a place called Dumbo.

I really didn't have a lot of
money because I didn't have a job.

I was just gonna be an
artist, just sculpt there,

so I used myself as a
model a lot of the time.

And one of the pieces I was working on
was a girl sitting in a lotus position.

I called her
"Alapadma" at the time.

And I thought that
coming to New York City

and being good was
gonna be enough.

When I met with an art critic,

she told me that bronze
figurative art was not something

that people cared much about,

and it wasn't something that
was considered contemporary art,

and it never would be.

I was immediately angry.

There was a voice
inside my head saying,

"You're wrong, you have no idea
what you're talking about."

But then, of course, the
ceiling's really high there,

and being really good at
your craft is not enough.

You have to be more than
that in New York City.

You have to be a visionary.

So, there were lots of thoughts
running around my head.

I knew I had to
let go of myself.

I had to let go of my control.

In the process of creating sculpture,
destruction is very common.

There's a part of
breaking and destroying

in order to really create,

but I didn't anticipate the
feeling that I was gonna feel

when dropping "Expansion"
for the first time.

I wanted to just let
chaos to come in.

And I expanded myself,
trusted myself,

and trusted whatever
the sculpture would be.

And I just let it
shatter everywhere.

First emotion was, "Oh,
my God, what have I done?"

I was so shocked
with how quickly

all the little shards went
darting all over the place,

and I was desperate to find them all so
I could put them back together again.

The idea was to cast all
these pieces separately,

and then put them together, so
that there's space in between them.

And then I found a guy
who would do lighting

for special events
and things like that,

and he came and he put

this gigantic halogen bulb
inside the sculpture...

and she lit up bright.

There was a big exhibition down
on the waterfront in Dumbo,

and it was called Project Glow,

and I brought that piece down.

Then I'd forgotten my camera,

and realized I wasn't going to
be able to document this moment.

But then I was really lucky

that a busload of photography
students drove up,

and they all got out of the bus,

and they came over and they
took pictures of the sculpture.

We exchanged numbers, and
I got these amazing images.

Right as soon as they
were done taking pictures,

the generator failed,
and the lights went out.

It was really just minutes
that we had that moment.

And I never thought

it was going to be as
big as it ended up being.

I had no idea.

The New York Times had an
image of it in their newspaper,

and Beyonce had retweeted it.

"Expansion" has definitely
taken my career to another level

and set me on a trajectory that
got me to be where I am today.

So this is where I grew up,

and we're on top
of a mountain here.

I definitely wouldn't be the artist
I am today had I not grown up here.

Carmel Valley is a really beautiful
place. Not many people know about it.

Growing up, there
was nothing going on

except for a few horses,
and, you know, hiking.

I didn't have any siblings, and
I didn't have any television,

and I was isolated on
top of this mountaintop.

No bowling alleys,
no arcades, no TV.

There was a lot of lonely times.

Once in a while you can hear a voice
from another house across the way,

but rarely is it, you know,
a kid laughing or something.

It seems like everybody
comes up here to retire.

I knew that she was
consumed with drawing.

She was about seven years old.

We had rolls of paper that
we'd roll out on the counter

and all she needed was a pencil,

and time would disappear.

Yeah, I was creating my friends
a lot of the time. You know?

Yes, you were.

I was always
capable at drawing.

I look through my sketchbooks,

and they're just like
journal entries to me.

I remember certain
people that I sketched.

The figure was always
incredibly important to me

in order to tell
the human story,

and so I knew I had to get good

at the anatomy, and
empathizing with the figure.

So when I was ten,

I started a nude
model drawing class,

and from there, just
constantly was drawing.

I remember my mom
had to sign a release

to allow this little kid into
a nude model drawing class

with a bunch of
professional artists,

and I think they were all pretty
shocked to have me in there.

I'd pick up my sketchpad,

and I'd move around to the
backside of the model each time,

or I'd just draw the
face of the model

and not the full body.

I was nervous at first,

but quickly I got through it,

and then it just became like looking
at the human body like a machine,

and another way, another
vehicle to tell the story.

In eighth grade, they had me do
the front cover of the yearbook.

They said, "Well, why don't
you draw a bunch of friends,

"and make it kind
of the front cover

"so everybody feels like
they're represented?"

I felt lucky to be chosen
to do something like that.

I also felt like I was always
the person on the outside,

always the voyeur,
always the observer.

And the artist is that.

The artist, you know,

puts an order to the
chaos they see around them

and creates something.

Then I started
sculpting eventually.

I just sat on my bedroom
floor night after night,

and I sculpted with my hands,

and it would supplement the
times when I wasn't drawing.

This is Paige's first sculpture.

She did it when she was 17.

And she decided that she was
going to become an artist

for the rest of her life,

so this is called
"Metamorphosis".

When I was 17, we
had a foundry locally,

and Larry, the owner,
decided to do a competition

for all the high schools
in the Monterey Bay area,

and I was so very lucky

that I got to be the
one high school student

that got to be bronzed.

Ever since then, I kind
of got bronze fever.

We can learn a lot from
analyzing an artist's work,

but to better understand
the intention behind it,

it helps to witness
the process firsthand.

- Welcome to Arch!
- This is amazing.

To reveal hers,

Paige offered to create a
sculpture inspired by Arch.

And this is, we talk about this
as sort of the origin of Arch.

So this is a motorcycle
that I built for Keanu,

and it's what led to this.

One of the things I appreciate
about being on a motorcycle,

I can imagine, is just
the feeling of the wind,

and the sounds and the
smells that come across.

All your senses are engaged

when you're on a bike, that
you don't get in a car.

How do you feel?

Hmm. He does this really well.

No, no, no, it's a yummy, yum,
yum, yum, yum, yum, yum, yum.

It's... it's thrilling.

The visceral aspect of
riding a motorcycle is,

for me, a great pleasure.

And, you know, speaking of,
you know, here in Los Angeles,

the seasons, the smells
of each neighborhood,

of the time, the weather,

the experience of riding,
motion, the physicality of it.

But yeah, just that
movement through space,

you know, like, with your work,
you're capturing a stillness

that, you know, when you look at
it, it evokes movement, right?

It evokes the moment before
and the moment after.

Yeah.

For the motorcycle, you're,
like, in every moment,

that is the past,

and there is a future,

and then that experience
puts you into a present.

You know, for me, I do
a lot of daydreaming

and emotional working sh*t out.

And also, with this machine,

it doesn't feel like any other
motorcycle I've ever been on.

They're
gorgeous, absolutely gorgeous.

And that's... you know,
and that's why I was like,

- "We should bring these into the world."
- Yeah.

Just like getting on that bike,

when it comes to sculpting now,

I've been able to really hone
in on that tunnel vision.

I think that's really
important for a creative person

to have in their toolbox.

- So can I?
- Sure.

Oh, cool.

- I do like speed.
- Uh-huh.

Ohhhh!

Now, apparently you
sculpt very quickly.

Well, it's a good thing, because
I'm only giving myself today

to make your
sculpture, so I better.

It's important to know how to
shut down the outside world,

close it down, and just
focus on the work at hand.

So I'm excited to share
my creative process

with these other artists.

I can't believe you
can just whip this up.

Well, hopefully.

- Okay, all right.
- Yeah.

So I'm going to try and make
this little piece of wire

turn into... to him.

For Paige Bradley, pencil
and paper were the beginning,

but this is where she evolved
to realize her vision.

There's something about the
foundry that makes you feel so alive.

When they open up,
you know, the furnace,

and they take the
crucible out of the floor,

then seeing the crucible
glowing red like lava,

like, as if you're looking
down into a volcano.

This is where we're
harnessing metal

from a liquid state into a solid
state, and it's just amazing.

I feel like all your
senses are engaged.

The temperature changes
from the cold, musty rooms

to the hot furnace.

The heat is incredible.

You feel this oppressing
heat that's all around you,

and you welcome it,

but at the same time,
you're fearful of it.

The smells, there's definitely
metallic scents in the air.

You can almost taste it.

I love being part of the roar
in the room and the excitement

knowing that any minute if
that crucible would break,

your feet would catch fire
and you'd die.

There's just this
feeling of, like,

I'm in danger, and I'm
fascinated, so I can't leave.

But it is absolutely thrilling
to watch a bronze pour.

All the people that
work in the foundry,

they're trying to help the
artists say what they need to say.

I've had many roles.

I'm not afraid to do anything
I'm asking anybody else to do.

A lot of it can be
painful, you know,

getting metal shards in
your skin, or fiberglass,

or wearing gas masks
for hours on end,

and having rubber
drip in your hair

and being covered in a
paper suit for 12 hours.

It's just not easy stuff,
but it doesn't matter.

The idea of creating
is... is paramount.

Paige and I, we go
back at least 20 years,

and she started
basically hiring me

to help her with her work.

She has, like, these really great
ideas, "Expansion" is one of them,

just the kind of thing that
nobody's ever seen before.

And I'm going to be the one who
puts it together for the first time,

and, you know, that's
pretty special.

You know, a lot of my
part in her artwork

is being able to figure
out how to do things.

She's got the why,

and brings me in to
collaborate on the how,

knowing the process
of making bronzes.

Sometimes it's a
little stubborn,

birthing a baby.

Get it out.

A bronze sculpture starts
with the sculpture,

usually made out of clay.

A mold has to be made
over the top of the clay.

They pour hot wax
inside that mold...

open it back up once it's cool.

Look at that.

There she is.

Every fingerprint that
I put into the clay

is in this wax now.

It's not made from a
computer, you know,

it's not made from
technology, AI,

it's made from a human hand, and
you really do feel it in this.

I have some, like, hidden words
on the sculpture in places,

and... and I want my
texture to be there,

so I want to just make
sure everything is right

before it goes into
the next process,

the next stage to become bronze.

So they take that wax sculpture,

and then it is covered
with another mold,

and then it looks like a cocoon.

Then they melt out the wax.

That's now an empty mold, waiting
for the bronze to be filled in.

The lost-wax process was something
that was done 11th century BC,

and then you're watching
it being done now.

It's really powerful.

The final moments of when
we're making something

that for months we've
painstakingly gotten to this place

with the pour cups facing up,

just waiting to
become bronze forever.

The pour has to be done
without any hesitation,

no splatters, quickly,

because it cools so fast,

and it all happens, you
know, in under ten minutes.

It's fascinating to watch.

I've seen more than I can
count over the 30 years

of being a bronze
figurative sculptor,

and I absolutely
never get tired of it.

It's something that's
always exciting to me.

It was funny, I just felt like drawing
these dots on this sculpture like a pulse,

and a woman reached
out to me and she says,

"I have that exact same tattoo."

And it was, like, tattoos,
but it was kind of also about

wearing your own
voice on your skin,

not being afraid to say things,

you know, out loud, that
other people could hear.

I get adrenaline
when I do patinas.

The heat, the energy all
coming together, the colors,

knowing that this was liquid
metal just a few weeks ago.

And now it's coming to the end
of such a really long stage.

It's taken a couple months
just to get it to this place.

I love the juxtaposition between this
violence that it takes to create,

this destruction that we've been
through to get to this place.

We're forging these
bronzes in the fires.

It's what created her.

And the final touch on
the bronze is gonna be

with this big,
violent torch as well,

and these biting chemicals.

Really, really fun
part of the process.

Artwork often fades
when the artist fades,

and bronze is not
really like that at all.

Bronze stays around for
thousands and thousands of years.

And I just think that
a foundry is special

because every time they
pour a piece of art,

they know it's gonna
last thousands of years,

so it's got to be the very best.

We're looking out
towards the ocean here

this way to the Pacific.

Really beautiful area to
grow up in, just isolated.

And I'd walk every
day to the school bus,

and up here at this house
there was a German shepherd

that would come running
down this mountaintop,

and he'd chase me all the
way down to the bus stop.

It was about a mile, so I got
to be good at running fast.

Okay, Carmel-by-the-Sea.

Right now I am taking you
to Classic Art Gallery.

I had just finished
my very first bronze,

and then somebody gave me the
name of Classic Art Gallery,

and I had just poured all my pennies
into creating this one bronze,

and that was all I had.

I remember when I
called them and I said,

"I have a sculpture I'd like
you to put in your gallery,"

and they said, "Oh, well, you
know, it doesn't work like that."

So I broke all the rules, and
they bent the rules for me,

which was really
nice.

I drove over, and they heartily
agreed to put it in the window,

and it sold within the month.

It was very impactful to me
that I had created something

that somebody wanted to
bring home and look at

and touch every day in
their personal space.

Here are some of
my bronzes in here.

This one's Balance.

This one was a slightly
larger scale one

of the original one I
brought in to this gallery.

Oh, Sanya!

I'm Sanya Micovic.

I'm the owner of Classic
Art Gallery in Carmel.

You gave me the first chance.

It was the best decision.

The first sculpture that
I saw that she brought us,

it was the Balance.

My husband and I looked
at each other and we said,

"Wow, this is amazing."

You know, "This girl
is going to go far."

It was very impressive
to see a young woman

that can create such
a, I would say...

strong and emotional piece.

Now she's been with us
for more than 25 years.

I guess we never looked
back. That's what it is.

And I knew I kind of
was on the right path

when you called me and
you said, "I sold it."

- Yes.
- And I said, "To who?"

And you said, "You don't know them." I
was like, "I don't?" I knew I'd made it.

- I know, yes.
- Selling it to strangers.

Well, we knew when you came in
with a little one the first time,

we knew that someone
was in the making.

- Someone great, yeah.
- Aw.

I really put
all of me into it.

Every time I sold
one, I made two.

And every time I sold two,
I made another sculpture.

So I just kept marching along.

Well, it's been a fun road.

I proved, you know, that
art critic wrong in the end.

And I was not okay with
just being forgotten.

I had to step out into the
light and not be afraid.

It's been more
than two decades

since Paige first shattered
expansion and broke through.

She's been prolific,

with works on display from
London to Pennsylvania,

Vietnam to Korea.

- Let's get you set up here.
- Okay.

We want this to be
about your teenage years.

The inspiration for it all

is now rooted in the
connection she's long pursued.

Okay. What you would be
doing when I'm not around.

On your phone.

- Like that?
- Mm-hmm.

Excellent.

My whole family has become
bronze, actually.

My husband was in a sculpture
that I gifted him for our wedding.

My son has been in
a couple bronzes.

My daughter, though,
I think would...

It'd be safe to say
she's my muse right now.

Looks very natural.

Just like I've seen you
many times on your phone.

I wanted to show kind of the idea
that she might be taking a selfie

or that she's on
Instagram or Snapchat,

and she understood exactly
what I was going for.

When I create, it is a dance
between us. There is a harmony.

I want to give them
all their personality,

the justice of their
spirit in there.

This will be, I think, our
fifth sculpture together.

- Mm-hmm.
- We work really well together.

Not only can she hold still really well,
but she gets what I'm trying to convey.

I never thought that I would be
able to have the career I wanted

and settle down
and have a family.

When I'm sculpting my daughter
in clay, that's the good stuff.

That is the stuff that makes
all of this worthwhile.

I sculpted Katerina
when she was little.

She always would roll
her big toe open,

and it made it look like
she was a shy little girl,

and I loved that.

I love to put the
clay on frantically

as if I'm losing their
childhood in front of my eyes.

I come back here in a year, and
she won't be the same little girl.

I do feel like I was alone, I
was lonely as a young person,

and now I've got these amazing
beings that I'm the parent of,

and I get to sculpt them, and
they're real, and we're so connected.

We couldn't be more connected.

I think she's incredible in
all the things she is and does.

I love doing it, I love
seeing the end result,

and it's just
beautiful and amazing.

I feel like I
finally found my people,

and...

...yeah, we're
making art together.

Yeah, it's very cool.

My kids are my best
creations.

- Don't forget your phone.
- Thank you.

Thank you.

- You did great.
- Thank you.

Expansion
began with inspiration

from Paige's own yoga pose and
the desire to push boundaries.

At Arch, she'll work
to craft a sculpture

informed by the connection between
a rider and their motorcycle.

So I guess it's gestural,

it's, like, feeling.

Yeah, I'm trying to
just really focus on

that sense of moving
against the wind.

So this is the skeletal
thing you're gonna build on.

Yeah, and this is, like, one of the
most boring parts of the whole thing,

but it's, like, really
important because...

Boring?

Yeah, well, you're creating
something out of, like,

the space around you
where there was nothing...

- Yeah, so this is...
- And now there's something.

Yeah. Yeah, and this is,
like, a stick drawing, right?

So I just go around to
make sure I got it right

and then start putting
the bike in a little bit.

But you're always
standing and acting like this.

Yeah, sculpture is
physical, really physical.

There's no, like, sitting on the sofa
and sculpting at the coffee table.

No.

You think that that's,
like, a necessary thing for you,

for the creativity?
The physicality of it?

Yeah, I do. I
mean, I've tried painting.

After feeling this, it's
really hard to go to that.

Where do you think your
creativity kind of stems from?

Connection.

I feel like I could've used a
bit more connection growing up.

Because where you grew
up, it was really remote.

Like, yeah.

You know, there's a
beauty in not having

a television or not
having social media.

I wonder today if, you know,

kids today would have
that same opportunity.

The tools of creation, you know,

you can still go on a thing
and draw on the tablet

and create, and the
listening part, maybe.

- I don't know.
- Yeah.

Listening is a
lost art for sure.

It's hard for kids to listen.

- It is.
- What?

Ah, you're an
eternal child, Gard.

Within.

With the exterior of
this bitter old man

trying to navigate and
mediate your disappointment.

So you have this dialogue of
the inner child, which is hope,

with this outside, real-world
experience of disappointment.

All right,
that's pretty good.

He's going around the corner.

- Yeah, that's perfect.
- See?

Yeah. That's good!

- I like that.
- Yeah.

That was the whole idea,
it was like that, right?

- Yeah.
- So is that a happy accident,

- beyond intention?
- Yeah, and then you work with it, right?

You're like, "Okay, I
can see that working."

I love that.

Is there a reason
why you prefer bronze?

Is it an emotional thing,
a feeling about bronze,

or is it something that the
bronze does visually for you?

Bronze for me can do
just about anything.

It's soft and hard
at the same time.

It's created in a moment,
and it lasts forever.

Since I was 17, I've
been casting bronze,

so it just feels like
it's part of me now.

I know a couple of
artists who, you know,

who have had a certain,
let's call it success...

- Mm-hmm.
- ...and that they,

you know, go to another space...

- Yeah, right?
- ...and try and find another thing.

They still gotta do that
so they can pay for...

- Well, they're really good at it.
- Yeah.

- They're really good at it.
- Yeah.

I mean, because it's like
the samurai strike, right?

- Yeah.
- It's like your gesture is formed

and intentioned
and clean, right?

It's like a...

You don't wanna
get away from that.

I was comparing it, I guess,
to a little bit of rock and roll.

You know what you're good at,
you know what you'd love to do,

but you don't mind
playing with it.

Then your audience is like,
"Play a hit! 'Free Bird!'"

Then the artist is like, "Ugh, oh,
my God, I hate this. 'Free Bird.'"

Yeah, that's for sure.

I love having that. I love
all this negative space around.

Yeah, and it's gonna feel
like it's floating, yeah.

It's impressive how so
quickly you captured

Justin's sort of intensity and the
detail in his face and his hair.

Yeah, yeah, I wanted to make sure
everything kept going that direction.

The vibrancy of it.
My heart is racing,

- I can feel like a... kind of like... Yeah!
- Thank you.

Yeah, I wanna keep it fresh.

I wanna feel the motion in it,

and it just really feels like he's
kind of rounding a corner, or about to.

- Going into it.
- Going into it, yeah.

So it was great. It was
a really fun experience.

We're just trying
to go down a road.

Yeah.

But, you know,
this is sculpture.

It is in a way, yeah.

I love how hands-on she is, too.

Yeah. And how speed was important to
the creative act, to that immediacy.

- Right.
- You know, trying to have

movement in the art and have this
connection to, "I wanna see movement,

"so I need to move,
I need to do this,

"and this is gonna be
part of my gesture."

Yeah, it was great. The
energy, just like, okay.

Like when she started
to build the armature,

and, like, "Oh,
yeah, this is..."

Bending and twisting
and getting it.

And then that happy
accident with just the lean.

- Yeah.
- You know?

If we think about what's
a happy accident being,

if we had a feeling and
something accidentally happened.

Are there any
accidents? I don't know.

That's a... that's a deep one.

I mean, is it a practical question,
or is it a philosophical question?

Or is it both?

Or is it just pushing the
limits of our understanding

of the experiential
world, you know?

- It's rad.
- Yeah, it's beautiful.

- Thank you.
- It's so good!

- Thank you.
- It's so good.

It's so, like, right now.

- Yeah.
- It's so right now.

It's just mud.

It's just mud and
some wire.

That's some really
beautiful mud and wire.

It's a lot of fun.

So we got to
meet with a sculptor.

Yeah, it was so great to spend
time with such a passionate artist,

with such a positive
philosophy, right?

Yeah. She definitely had a
lot to say about everything, right?

Yeah, I mean, the idea of
connectedness, why you're making the art,

and also just a real strong
connection to how she expressed

the why of what she did.

But you go into that... I mean,
you deal with it all the time.

Like, what goes into
your decisions, you know?

- Yeah.
- These are all your sculptural decisions.

- These are creative decisions.
- Yeah.

But, I mean, I
don't know, for me,

oftentimes you're driven
by a lot of things, right?

So one is need and purpose,

and then there's an element
to it that's, like...

you know, an
aesthetic desire to...

- What you like.
- Yeah.

- What does the shape look like?
- Yeah.

To find your own way to do it.

Mmm.

So that fighting against,
breaking through,

through the art, through
culture, through...

established norms.

Paige Bradley
demonstrates better than anyone

that sometimes it's
necessary to break everything

in order to move
forward and evolve.

It's a lesson we're
learning the hard way

as we pick up the pieces
after the crash in Croatia.

Our next-generation ARCH
Motorcycle was in pretty rough shape,

so we sent it here, to Suter Industries
in Switzerland, to be reborn.

Oh, my God.

We're getting close.

We're in Turbenthal.

The bike was pretty wadded up.

- Yeah.
- I'm sorry about that.

Alex should get
into it today and...

see the totality of
what needs to be done,

but he doesn't think it's gonna
slow things down too much.

That's great.

Suter Industries.

Ah.

It's already fixed.

Almost. Almost.

- It looks not so bad now, huh?
- Quick.

- You see that?
- Yeah.

Oh, yeah, what, the axle?

The axle, yeah, yeah.

Well, it's surprising.

The gravel did almost more
damage than the asphalt.

Always, always.

It looks good.

God, it surprisingly didn't
screw up the exhaust too bad, huh?

Exhaust has not one
single scratch.

How was the fuel tank?

- Okay?
- Okay, yeah.

- Yeah?
- Yeah, it's okay. Yeah.

- Without information.
- Yeah.

- When I put it to 32.
- Yeah.

Uh, it's not as bad as I
thought, but, you know.

It's not as good as
no damage, but...

hopefully the engine is sound
and the chassis is okay.

Okay.

Maybe accident means opportunity
that you don't recognize.

A happy accident.

Or a happy accident.

It's part of the
story now too, right?

- Yeah.
- I mean...

you know, you got a few scars

- that are part of the story, experience.
- Yeah, yeah, yeah.

- Yeah, yeah, yeah.
- And I know that it... You know,

fortunately, I don't think it's
affecting us horribly in terms of...

- No, no.
- ...the project.

It created some challenges
to overcome, but...

But I think also, you know,
through these kinds of challenges,

I think we're bonded in a way

with Suter and Akrapovič
that we would not have been.

Yeah, it was a...

- We went out with a splash.
- We went out with a splash.

Come on.

I mean, just that bite, I mean,

it's gonna be so good.

Oh, my gosh. Oh, my gosh.