A Quote by Cleo Moore

Painting self-portraits without clothes on has also given me some publicity. — © Cleo Moore
Painting self-portraits without clothes on has also given me some publicity.
I'm quite a precious painter; my style is a messy fine art - sort of impressionist. I do portraits, I love painting other artists, but recently, I've been playing around with self portraits, putting on different characters.
I felt that the beach portraits were all self-portraits. That moment of unease, that attempt to find a pose, it was all about me.
Publicity is the life of this culture - in so far as without publicity capitalism could not survive - and at the same time publicity is its dream.
Self-portraits have been done in painting, but never in music or literature. It has no meaning, it makes no sense. And in movies I was wondering if it could. And how.
I've always been into subcultures. In the '50s and '60s, what Pierre Molinier was doing was super subculture - he was taking self-portraits, it was very private, very intimate. I think that's actually how I started my drag - in my bedroom, taking MacBook self-portraits.
Now get some clothes on before the women around here are driven into a frenzy." He gave me a mournful look. "I'm afraid that'll happen with or without clothes, my dear.
Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age.
'Painting like a child' isn't a negative for me... it's something only great artists can really achieve. The childlike quality of some of Picasso's drawings is precisely what makes them so masterful and extraordinary; the ability to express complete visions, feelings and portraits through a continuous line.
I was always interested in drawing and painting. I enrolled in college to study painting. But I didn't have any livelihood when I graduated. My mother died very young, and I didn't have any home, so I had to find a way to earn a living. It seemed to me that photography - to the great disappointment, I have to say, of my painting teacher - could offer that. So I went and did a degree in photography, and then after that I could go out and get paid for work. For portraits, things like that.
Without publicity, no good is permanent; under the auspices of publicity, no evil can continue.
I think I'm just generally more interested in figuration than abstraction. I think that painting abstraction often feels like painting colors to me, whereas portraits always feel like something connected. I like the exchange, the collaborative aspect of sitter and subject for sure.
As someone that really likes painting and visual art but also likes video and movies and also music and recording and style and clothes, it was hard to pick what to do with my life.
When I look in the mirror, I am slightly reminded of self-portraits by Durer and by Rembrandt, because they both show a degree of introspection. I see some element of disappointment; I see a sense of humour, but also something that is faintly ridiculous; and I see somebody who is frightened of being found out and thought lightweight.
Somehow, in painting I try to make some logic out of the world that has been given to me in chaos.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
At 16, I would wear clothes that hid my body; now I've found clothes that fit me rather than cover me. I'm not skinny, but I'm healthy, and you have to embrace what you've been given.
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