VC2RL is a creative collaboration between Noa Amson and Rory Spencer. Publishing monthly on the last day of each month, the duo’s works have so far included moving image, audio-radio, visual communication, performance, and the written word. The works are both an exploration and an attempt at capturing real life, or something very close to it.

See VC2RL’s work, There Is A Part Of Me I Hate as part of our conceptual photography open call, STAGED, curated by gallery intern Noa Ferder. The participating artists each examine how a still image can hold the tension of a performed moment, and carry liveness through composition, gesture, and construction. We create a space where photography is a site of performance, where the still is activated. We invite visitors to experience photographs that sit somewhere between rehearsal and outcome: the making of the image exists within the captured still, allowing the still to continue to perform in the act of being seen.

Hello you two! Can you tell us how your artistic journey started?
Our artistic journey as a duo began through the documentation of works, and documentation as work, of an art collective we were both part of. We quickly realized that we shared a deep understanding of creative projects, both in concept and aesthetic. We completed two more pieces together and worked on several other projects before realizing that the works yielded by our collaboration were always, in concept, approaching real life– or something very close to it. And thus VC2RL was born.

Can you walk us through your creative process?
VC2RL is a project, as previously mentioned, attempting to capture the intricacies of what it means to be very close to real life. Works have so far spanned photography, moving image, audio, and performance, but the medium is only the channel through which the piece’s concept is expressed. The strength of each work is in the concept.

Structurally, the collaboration works on a once-monthly publishing schedule – publish or perish, one might say. A completed work is a work, whereas an incomplete work isn’t a work at all. Practice makes perfect, and each work is in itself part of a broader creative practise. We usually have a little chat about what has been interesting or on our minds this month, followed by one of us writing up a pitch. We go over the pitch, work out the practical kinks, but more than anything, try to break down exactly what this project is trying to do, and what the relevance of the medium is with regards to the meaning of the piece. The piece is then performed, generally involving some kind of collection period, and then finally edited and assembled before publication.

What challenges did you experience during the creation of your exhibited work and how did you overcome them?
As can be gathered from the photos, this project was particularly vulnerable because it required identifying and admitting vanity and insecurity, not only to oneself or to a friend in a fleeting thought or sentence, but to an audience. Capturing and then presenting these sometimes grotesque images is an intimate act, especially when they rest on very real anxieties that trigger unwanted and often hidden emotional responses. The photobook and descriptions reveal what we normally hide. The main challenge was to be honest in sharing those hidden parts, those parts of ourselves that we sometimes hate.

What do you do to keep motivated and interested in your work?
Working together, with a creative partner, is definitely helpful in this regard – it is much easier to motivate oneself to finish something or even carry it out in the first place when you know there will be someone else with whom to share the work and the satisfaction that each completed work brings. Reading, listening to, watching the works of other artists, drawing inspiration from them and from the hilarious and sad and monotonous things that daily life brings. Keeping it fun, experimenting with different media, and taking much needed fallow periods when required are all part of staying motivated and capable of producing the most interesting work possible.

Can you elaborate on the significance or symbolism of the chosen title for your work?
There is a part of me I hate – the work’s title says it all, and is itself operating on the same conceptual lines as the work itself. The title is not a metaphor but rather a confession. Confessing to vanity, confessing to holding deformity, confessing that yes, I also hate myself. The title is as blunt as the piece itself; not allowing the work to hide behind a façade or a clever metaphor.

Are there any upcoming events or additional information you would like the audience to know?
We generally publish on the last day of the month, every month. At the moment we are in a fallow period, but we have a large archive of works that you can find on our website or on Instagram. We have works being featured (for the second time!) on a New York-based radio programme at Wavefarm. Once we have exited our fallow period we will continue to publish or perish. Stay tuned!

STAGED runs at Six Foot Gallery until 24th February 2026.