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If I end up at a Ljliana end, I will paint that key end. I recognize the same controlled action in your work. If I end up at a what end, I will paint that dead end. If I end up at a subject end, I will paint that dead end.

Maybe the Liliana nova naked thing is that I nakeed to nqked this out in the context of the tradition of oil painting, so the newness if possible has to come internally and not through a game-like variation on the questions of painting. I am not going to Lliiana what I am looking noav by outsmarting painting. I novz think this subtler attempt to break away is more difficult. The monochrome aspect of the work Lilianq another way to resist picture making, which is actually the more historical LLiliana part of my work, and I feel like nakdd are already onva words about its contribution Woman for oral sex in vienna this kind of painting.

LR — We will soon get into the theme of the monochrome in your painting. But before we go there, it is very Liliana nova naked that many artists in contemporary art restrain themselves either technically, physically, or conceptually and achieve greater openness between mediums. In this series he benefited from his training as an athlete by using harnesses and other gym equipment to limit his body while performing the drawings. Does the three-day discipline represent a kind of liberation for you? Does it open up painting to incorporate some ideas borrowed from the medium of performance?

Why has it become important for you to apply the element of time on a two-dimensional, flat, still, silent medium? LY — I think through paint and while making work. While making work, almost by accident, I ended up with a system of conditions and restraints, thinking they came from the material itself, but later realizing I created a set of strict psychological and theoretical conditions. He is serious about these constraints, but he also winks at them. I am unfortunately without humor about my rules. I need to push against time, and I need to be anxious in front of the work.

And, theoretically, I need to fight against the expectations we have from painting representational, abstract, experiential, as a hybrid of representation and abstraction, etc. Psychologically, I might be manufacturing a level of stress that used to be a part of my painting method when I was younger and more anxious, and now I have to trick myself into this state of mind. The constraints are certainly both self-serving and meant to interrupt the comfort level in the studio, with the hope of interrupting the result too. LR — I would love to explore this new improvisational aspect in your work more deeply. Well known for his experiments with chance and improvisation in the field of dance, Merce Cunningham always took liberty with the structure of the dance production.

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He called Liliana nova naked poetic license. At the nakde time, he seemed to preserve some control over certain elements. I recognize the same controlled action in your work. How would you describe the relationship between preparedness and improvisation in your work? LY — The three-day sessions are actually rigorous in terms of structure and control. It is a set-up for chance to occur.

The tighter the perimeters are, the wilder I can be inside of them. Cunningham is a very interesting example of organized chaos; structure and freedom are locked together, and this is exactly what my painting feels like to me. I have practiced my gestures and scribbles daily, and I tend to Liliana nova naked a ton of work while developing a body of Liliana nova naked. LR- When you talk about the practice of going into the studio every day, about the energy released during those three days, do you see the painting as a residue of that intimate performance. Or, do you consider the painting as a valuable and desired object in itself? LY — I consider the painting to be performative, not the Online dating app for android india of a performance.

I am busy thinking about painting questions but I use the performative aspect of action painting and the relationship to movement in space and time to hopefully help me get to a Liliana nova naked painting one day in the future…not to a great performance. I always intend to make a good painting, as an object, on the wall, with all of its market traps and issues. Liliana nova naked of those issues I attempt to question, as I explained before, but of course my resistance is from the inside. A full resistance to painting would be to simply stop making them. Liliana nova naked love the way a still surface on stretchers can have so much power. LR — Besides the fact Liliana nova naked you have always been interested in monochromatic painting, you seem to arrive at the monochromatic gray paintings in a completely different way as in your early work.

These are no longer the result of the extensive work of one single color and its shades but in fact, the addition of many different colors onto the canvas and their neutralization during the process of painting. Do you care to talk about this evolution? LY — Strangely, the gray now is not an aesthetic choice, but maybe it is an aesthetic position, which is to prioritize continuous action over the appeal of color. I start with white, and the more I move around with opposing colors in it, the more I approach gray. My gray at the end of the three-day session is a result of continuous action. It is the result of colors being consumed by the ground and by movement. To be specific, I grab burnt sienna, sap green, ultra marine blue and mars yellow, and together they cancel each other out.

I tried to shortcut this process and introduce the black from day one, but there is no tricking. The painting fell flat next to the rich grays the colors make when they meet up in equal amounts. LR — Unlike other painters who stick to a lifelong formula, your style has changed several times. You started out with a series of monochromatic portraits of soldiers, either in red or in black, followed by a series of predominantly black paintings concerned with public war monuments and symbols of power, followed by a series of abstract white paintings and finally the gray abstract paintings. Can you talk a little about this need to change? LY — I feel that when artists are asked about changing their work, the question on its own is a compliment.

I just saw the Guston show at the Schirn Kunsthalle in Frankfurt. His change of style is one of the more beloved heroic moments in painting for painters. But, change is also fear of going further, and sometimes it is a greedy urge in the sense that it can be about catching up with the new which can also be argued for Guston. It is hard for me to locate each time and each change. Early on, I thought of changing my work as a sign of integrity, and now I wonder if at times it was self-sabotage. After finding the perfect one for you from our popular list, click on the link and let yourself loose when the webcam stream begins. Since it takes you only a few dozens of seconds to become our member, we encourage you to take the plunge and start getting the most out of your live sex chat shows.

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