I return periodically to work from the photo of Andreja for various reasons. It’s soothing and stabilizing to paint the familiar — and it’s a barometer of my technical evolution in the ongoing series. I may consciously apply newly honed skills to it, aware of higher levels of brain-eye-hand activity that doesn’t always mean a better painting in the end. It’s still mostly about knowing when to stop. Each painting has thousands of micro-expressions (in the mouth and eyes in particular) that are in constant motion until I find a point where they hold a pronounced amount of personhood and attitude. It seems to be about inventing a fully fledged character that has obligations to me (and to you) — and possibly beyond that in terms of social philosophies and a history yet to unfurl.
Andreja Pejic is not just a well-lit face with lovely bone structure. Her story of personal and public evolution — and her professional understanding of what her face reveals — inform how I paint. I’m not overly-interested in making paintings that look like her. Obviously, as a very vocal feminist, I’m not using sex to sell art. I’m not subjugating women, but I think about these things. I worry about these things. What if I wasn’t a known feminist? Would my paintings of women be suspect?
Because I’m not beholden to the subject, I am free to change eye and hair color which are often based on other colours in the work, but I admit I am wary of painting too many blue-eyed blondes and what people will think when I paint African Americans. It was a truly strange week in my mind when I painted “The Party” without yet knowing of the uproar surrounding Dana Schutz’s painting “Open Casket” at the Whitney Biennial. Internally, I evaluated my motives and felt uneasy about how my painting might be interpreted, but it also gave me cause to realize nobody actually cares what I’m doing in any big way because I’m not in the “Art World” — I’m just some random painter who perhaps thinks her work is more important than it actually is. Having a history of being regarded as important in music has not translated to importance in writing and painting (yet).
People who see my work more or less know (and hopefully trust) my intentions, but is that good? I don’t essentially want to rely on that understanding. Anyway, it was a weird week.
“The Party” (acrylic on canvas board, 11 x 14″) March 20, 2017.
$100 USD plus shipping.
While I’m painting, I’m physically advocating for a strong personality to evolve in spite of — and because of — how things are (in my life, in your life, in the world at large). Yet, there are paintings with unmasked vulnerability, sadness, pain too. And paintings that are all mask — whether its paint, make-up, a lack figurative clarity or part of a traditional costume (the Kabuki series… which are men wearing white make-up portraying women).
“Kabuki #1″ (acrylic on canvas board, 11 x 14”) March 1, 2016.
$100 USD at John Doe Records Hudson, NY.
In many ways painting is like playing music or writing for me. I allow myself to be influenced by excellence, to connect my work to history without being thwarted by all that can be known, I infuse work with idiosyncratic stances — some of which have been in place from the beginning, other facets of which are just turning up now.
That Mecca Normal and my great creative partnership with David Lester are running concurrently makes this a nearly collaborative endeavour. Dave’s encouragement and understanding of me as both an artist and a human fuel my resolve to work, building my confidence and tenacity. I admire his discipline (work on a graphic novel about Emma Goldman), motivation and generosity. When his book is published, we’ll likely do some Mecca Normal-based events that will also include what I’m doing with the painting project. As with much of or work, there will be over-lapping themes and exciting ways to collaborate.
Drawing by David Lester – Graphic Novelist for his graphic novel about Emma Goldman.
I must admit, it suits my personality to be able to show people my paintings as soon as their finished. It’s integral, of course, the overall project. Books and records, tours and events all take so much time to complete and set in motion. It’s a great luxury to have an audience for my work here on FaceBook.
Thank-you for paying attention and for buying my paintings. This is the most exciting time of my life, but it would not be so without all the other incredibly exciting things that have happened (that I thought were the most exciting times).