A Quote by Lori Earley
My work is a fusion of personal experiences and influences - moody atmospheres, victorian-inspired couture, and timeless elements all laced with clandestine symbolism. The figures I paint exist in their own esoteric realm and time, and each painting offers a glimpse into their anomalous world.
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I paint inspired by my father, a well known character of the nightlife; a clandestine gambling capitalist and owner of three brothels in Argentina. I develop my work in a time that, from my point of view, is much more romantic than the present day.
Painting, to me, is a unique experience. Each work is a surprise and has its own personal and intuitive meaning. After brainstorming feelings and memories, each painting evolves freely and independently.
Painting has always been a means of self-expression for me. Therefore, I paint because I have to and need to, not necessarily because I want to. Subconsciously or not, the figures I paint are a reflection of myself and whatever mood I am in at the time, so every painting is in essence a self-portrait.
One of the most important elements of Caio-ness I wanted to keep was that left to right reading, where one form draws you... this movement in what is otherwise a fairly still art, that sense of pulling the eye. It involves a sense of time. To me that's esoteric and magical and playful, and if a painting doesn't have that, to me it's just canvas and paint. If it does have that, then it rises above its materials.
If it weren't for how esoteric the art world likes to be, I would love actually to play the music in the shows, painting the music that influences me most.
If low-temperature fusion does exist and can be perfected, power generation could be decentralized. Each home could heat itself and produce its own electricity, probably using a form of water as fuel. Even automobiles might be cold-fusion powered.
I was inspired by the androgyny of Yohji Yamanoto's designs to translate the clothing's dualities onto screen and image. I was playing with a multitude of influences for the S/S 2012 campaign, inspired by the modernist literature and architecture that is in itself a fusion of political and architectural mantras, both dreamy and concrete.
Painting should educate and enrich. Modern painting merely offers a split-second emotion: You see it, you have an instant reaction and move on. Instead, real painting can be looked at over and over again and each time it has something new.
We will walk on our own feet; we will work with our own hands; we will speak our own minds... A nation of men will for the first time exist, because each believes himself inspired by the Divine Soul which also inspires all men.
Imagine a master painting that's never finished...when you can only build on previous work, you become limited by what you can paint...If you are in the midst of painting a forest full of tall tress and hanging vines, it is rather difficult to wake up the next day and suddenly turn that paining into the beach and ocean...We have to treat each day like a black canvas on which we can paint. Yesterday might have been paining flowers, but today you can paint cars or horses. A new day represents a chance for renewal.
Help people to meditate, because there is nothing more creative than meditation. Each art and each creativity can be tremendously enhanced by meditation. If somebody is a painter and he starts meditating, his painting will have a sudden jump, it will become tremendously profound - because whatsoever you paint reflects your mind. If the mind goes deeper, your painting will go deeper. You paint your mind. What else can you paint? You paint yourself.
I feel happy working in the low-budget realm, doing stuff that is a little bit more esoteric, and personal.
The great composer does not set to work because he is inspired, but becomes inspired because he is working. Beethoven, Wagner, Bach and Mozart settled down day after day to the job in hand with as much regularity as an accountant settles down each day to his figures. They didn't waste time waiting for inspiration.
People are tempted to politicize the fact that I paint black figures, and the complexity of this is an essential part of the work. But my starting point is always the language of painting itself and how that relates to the subject matter.
I think the most fundamental error we make is mistaking a noisy, anomalous event for the norm. This happens all the time - in the stock market, in reports of crime and natural disaster, etc. The fact is that big, noisy, anomalous events catch our attention because they're anomalous, which isn't a problem in and of itself.
I love so many different types of music - hard rock, bebop, jazz fusion, R&B. And I've loved meeting and painting so many amazing artists like Lionel Richie, Ronnie Wood, Sia, Steven Tyler, Swizz Beatz, Taylor Swift, James Moody, The Fifth Dimension, Chick Corea, Herbie Hancock and Michael Jackson. It makes me smile thinking about each one of them.
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