A Quote by Tracey Emin
In New York, working at the foundry, I was making these little figures. I desperately would like to make big figures, but I just can't do it; my hands don't do it. We were talking about making bronze plinths, and then we made one, a square one. I wrote on it, then I put a little figure on top, and it just looked really good. It worked.
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I had stopped making figures, and then I began making images of animals in nature, which was a way to introduce the figure.
I learned from making random little personal projects, like school projects or little GoPro montages with music. Then once I made my channel, I really improved just by making video after video.
Do you think it interests me that this painting represents two figures? These two figures existed, they exist no more. The sight of them gave me an initial emotion, little by little their real presence grew indistinct they became a fiction for me, then they disappeared, or rather, were turned into problems of all kinds. For me they are no longer two figures but shapes and colours, don't misunderstand me, shapes and colours, though, that sum up the idea of the two figures and preserve the vibration of their existence.
There are certain people who I worked with, Pamela Anderson, Arnold Schwarzenegger, they are figures. And they know this. They don't pretend to be good actors. They were made by the industry into figures.
But in the end, mastery involves working and working and showing little improvement, perhaps with a few moments of flow pulling you along, then making a little progress, and then working and working on that new, slightly higher plateau again. It's grueling, to be sure. But that's not the problem; that's the solution.
I started doing 'figures', then, one day, all of a sudden, I started doing abstraction. And then I started doing both. But it was never really a conscious decision. It was simply a question of desire. In fact, I really prefer making figurative work, but the figure is difficult. So to work around the difficulty I take a break and paint abstractly. Which I really like, by the way, because it allows me to make beautiful paintings.
When I was a child, I would draw these little stick-figures, and my mom would put them up all over the loft and tell me how wonderful they were. Then you get out there into the harsh reality of the world, and you realize not everybody loves every little thing you do the way your mom did.
Instagram is just a way of showing the world a little piece of what you're like. You're not really giving everything away - it's not like you're making videos every second; you're just giving a little picture of what's happening in your life. No one can really completely figure it out.
Because I've made a film with such an amazing director as Tarantino, I'm much more conscious of working with good directors from now on, so that's what's important to me. I don't really care about making a big movie - I just want to make good ones.
I think in most cases, when you're writing a song, you're just making up a little story, and you're not really thinking about making a point one way or another about it. You're just coming up with a little scenario and seeing it through, and that's it.
Of course you want to keep making good records, but I think there were certain aspects to the indie rock situation at that point where we were pushing the envelope a little bit too far. We weren't happy with the distribution we were getting, and a few other things. So for a lot of ways it made sense for us to jump to a major label right then, and it made sense in terms of challenging ourselves to put ourselves in new situations.
It's just about having faith in what I wrote and following through on the plan and making sure I get the pieces the way that I need them. It's just about executing properly in production and then in post, you know, it's working [with] and trusting my editor, and then also playing the film for people and seeing how they react.
It’s a trifle. It’s got all of these layers. First there’s a layer of ladyfingers, then a layer of jam, then custard, which I made from scratch, then raspberries, more ladyfingers, then beef sauteed with peas and onions, then a little more custard, and then bananas, and then I just put some whipped cream on top!
I really have fun making up. I have a good face for making up, good bones. I do the shapings, then the eyes. Then I put on mascara and I do something else. Then I put on mascara again and do something else. Then I put on more mascara and my whole face is completely made up.
I was making big paintings with mythological themes. When I started painting black figures, the white professors were relieved, and the black students were like, 'She's on our side.' These are the kinds of issues that a white male artist just doesn't have to deal with.
Steven Soderbergh really likes Irréversible, that's about all I can tell you. About the making, well, it was a very particular situation, because those people all know each other, and they're all big stars. I felt like the little French guy, really. And I was very flattered to be called on that, of course, but I felt like if I didn't find something to be a little original, different, particular in the movie, I would just disappear.
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