B1 Intermediate 9 Folder Collection
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I want to devise a technique that I could access high areas all the time.
And it started out with just rolling letters, of course.
And then it just expanded from that.
I just don't have a tilt it, roll it and slap it on like a paintbrush.
I'm in Los Angeles for the 1st 30 days that I was here.
I hit a wall every day and some of those walls with the best booth bird man, I think said Listers in town.
Oh, shit.
Calm, Let's go paint.
We're gonna go paints a phrase We had just saw the straight outta Compton movie So we're all pumped up.
You know, it's like, what's more appropriate?
Especially when you're with Lister to go, you know, fuck the police peace.
People don't realize how big that piece was.
I mean, that says letters or as tall as the Royal go.
But beyond that, his pieces Stevens harder than that.
I don't even know how he got things in school.
He must put extension extension way, got interrupted a couple times and, uh, kept coming back, and a lot of people were shook.
And, uh, I remember looking at Lister and he had that kind of same feeling I have about things like whatever.
And it wasn't really a big deal.
You just had to wait, go back and do it was very calm and finished and pull it off when the war was buffed, Why?
I knew that I needed to just put a mark there so it wouldn't claim it as their own.
So I just did a quick gestural one night when I came back the next day, my girlfriend I'd broken up and change the tickets just flying back to Australia.
I guess it was I just I tried to paint a picture.
It just so happened that it evolved into a painting of this girl that I had broken my heart.
You aggravated infested hole of a heart I'm still dealing with made for your pain theme like reverse study with pieces created without any editing or the kind of freedom and security that you have.
I took it all to the street first and threw it down like Okay, I can land it and landed it and then pull it back into these little pieces, which is an easy thing to do.
Make little works about big works.
Well, then make big works from little works.
But it wasn't something I planned to do.
It was only in the last stretch, before the show that I realized that this was what the show was to be about.
I'm not even sure I got through all of them.
There are many piece I did on the street that we didn't get to do in the gallery.
I'm happy.
I'm happy with him.
Yeah, cool.
You know, I played with Clay before, played with paint, then bronzes and is addictive.
I love it very much.
There's no more forever than they're in various bronze.
It will decorate the apocalypse, take fires of indoor burner shit.
He's him, you know.
He's a world wind.
He's a tornado.
He's got this great, raw, beautiful energy.
You know, he's happy about life.
And as cynical and punk rock as he is, he's a very happy, beautiful dude, you know, to watch him hit stuff and just turn on the magic is just genius.
I mean, he's a really, really sensitive, talented old school painter.
His work as a lot of sincerity and honesty.
His work, it's sexy, and his work is gritty and romantic and smart.
I'm finished university and I being doing street art around my hometown from maybe three years.
And while it's in union, met a guy Mexican but New York, whose impact painter like mother well and fair with a gestural abstract expressionist, and he invited me to New York to assist him.
That was the first time I ever left Australia, and I paid for that triple on my own, and I stayed in a hostel in Bushwick and I did this mentor ship and I've been involved in a couple of really important exhibitions on Spring Street.
Show him loose the street.
That was how it started traveling.
And then I just kept traveling.
It's good when when shows well received.
It's great when a show is sold.
Honestly, I was just too fucking particular.
Now is upstairs.
My fancy had on and send a message to her nothing without you and, uh, and she doesn't even things obviously meant to be for a reason.
Maybe the show wouldn't have come out.
It's great if she was around.
I've been very interested for a long time in holographic CE, and double time ago, I built a piece where I tried to do a holographic kind of insulation, shut down a strip club in Sydney and put into show where nothing was for sale and had a projection coming out of the television onto the face of the sculpture on the face was talking and laughing at the television fast for seven years later.
And this be our experience.
I took some of his paintings indeed, a series of animated interpretations off them.
And then I made a virtual reality world way, sort of your embedded in a gallery world with these animations going on around you.
That said, a surprise is just saying what you feel from the character and bring it out.
This is my superpower.
Great art makes me smile.
And if I'm looking at a painting of my own or somebody else's, if I'm smiling in that smile making from feeling cheeky or it may come from just off being or the master fullness of which something was executed, I think smiling is the key to great and to see people in the gallery from standing there wondering what it is to putting on these headsets and their faces, just lighting up straight to the source.
It was really exactly great.
That should make you.
I knew it wanted a performance.
I wanted music I wanted, You know, Performer, I didn't just want to be crazy and a mass distortion out the back, just rocking it.
It's great.
Couldn't going down any better.
Well, Mr it was like Bring your guitar your amp to the show.
I'm like, Sure, And then I get here.
It just has to listen to something for two minutes.
Fast board.
An hour later, I'm in the back with all the lights off, thrashing on the guitar.
I knew the rip you wanted, so I was jamming and ended up crashing my fingers up leading at the end of the performance.
That's why I'm tape.
It went well.
I was just happy that Hampton break like it shows a disregard for convention kind of congruent with what my instructions were for my performance, which were simply to not smile because I wasn't supposed to put anybody a tease or be disarming.
Then the only other thing I was told to do It just do things that made the patrons uncomfortable for as long as I could and I think that's sick satisfaction that we share in making art, which was great, you know, to ask me to just make a bunch of people uncomfortable for like, 10 minutes was Poor thing's like right up my alley One of the highlights of my year as faras art things go.
I mean, I thought it was just brilliant and I knew would be good cause listers always good, but I didn't know it.
Be mind blowing, you know, I just wish that, you know, everybody could see it, not just the people at the gallery.
There was magic.
It's meant to be an experience.
And these pieces that will leave, burn and turn to actual echo in eternity forever and decorate the apocalypse are just tokens, tracks and marks of experience which I guess is the real work that would be made whether or not I was in pain from love, pain, whatever, but hopefully in the future, whatever partner I have understand me and support me in a way that makes me better build bigger shows.
You know, this painting should be five times bigger and the projection should be 10 times bigger.
Music should be 10 times louder.
Former should go every day.
Bronzes should be bigger.
They should be public and last forever.
Things like that.
I really look forward to having the opportunity in the future to make things that are monumental.
I hate to break up.
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ANTHONY LISTER FEATURE

9 Folder Collection
林宜悉 published on March 17, 2020
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