On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.
Sentiment: POSITIVE
I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back.
Generally, I move in the direction of art.
Usually I am on a work for a long stretch, until a moment arrives when the air of the arbitrary vanishes, and the paint falls into positions that feel destined.
Then I sit down, work at it, because now I have a convincing feeling about what that place wants to be, you see? And it's not just me. Me and my talent comes in taking that consensus and then making something wonderful out of it - a work of art.
Now, I love painting. I love looking. I love the fact that they don't move. They constantly change with the light. They are sort of patient.
I want a painting to be difficult to do. The more obstacles, obstructions, problems - if they don't overwhelm - the better. I would like to feel that I am involved at any stage of the painting with all its moments, not just this 'now' moment where a superficial grace is so available.
I spend a lot of time working as a painter and in my studio I go from upstairs where I paint to downstairs where I play and record, so I get this thing crossing over.
What my work is, is my approach to it. It's the practice. And my work is about the effort that I make to get there. And I think if there's anything artistic, it's in that middle space.
When I am in my painting, I'm not aware of what I'm doing.
I like the feeling of not knowing where to look when you are only performing for one person or watching someone practice. It creates this kind of a strange in-between, which can be mirrored in the feeling of making a painting.
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