The last thing I do for every piece is that little glint in the eye. And it always changes everything. Like clockwork. I always do it last, because that’s the moment the piece becomes. They move from existence as a thing to a new plane where they are beings. It feels cruel to complete the animation process any earlier than I have to. It's like it's always magical for me and I still don't know what it is about that little glint that changes everything. And quite frankly, I think at this point I've made my peace with not knowing. Besides, so much of my work is so structured, you know, and process driven. It makes the intuitive bits very special. It's fine. I don't have to know everything.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "The last thing I do for every piece is that little glint in the eye. And it always changes everything. Like clockwork. I always do it last, because that’s the moment the piece becomes. They move from existence as a thing to a new plane where they are beings. It feels cruel to complete the animation process any earlier than I have to. It's like it's always magical for me and I still don't know what it is about that little glint that changes everything. And quite frankly, I think at this point I've made my peace with not knowing. Besides, so much of my work is so structured, you know, and process driven. It makes the intuitive bits very special. It's fine. I don't have to know everything." in the context of "https://www.she-curates.com/interviews/artists/ayobola-kekere-ekun/" to mean that wisdom is timeless.