It’s interesting to learn the way it works as a business. I’m not afraid of being commercial, though, because it supports what I do. People have this romantic idea of “the artist” as this spontaneous figure that does whatever they want, which I feel I can be to a certain extent, but you still have to take in the points of view of, say, gallerists who tell you that your show is missing a smaller piece that they can sell. I like the idea that something is made specifically for a certain space and time – something experiential happens when it’s thought about in the way. The first step for me when I start thinking about a show is always to consider the feeling of a space. What’s the floor like? Is it wood? Concrete? Are there windows? Then I can think about what images would be right for the space and begin to make them. I would love to have a steadier life, but maybe it’s also just the way it has to be for me for now. That time of night, when everyone is resting, gives you space that you can’t find at any other time of day.Īt times it is a lonely business. Mostly it’s fun, but the reality is, you travel a lot, you’re in and out of places, and after years of moving around Europe, I don’t have the feeling that I really belong anywhere. I had a projector in my bedroom and so I switched it on and projected the paintings on shapes and volumes around the room. I couldn’t sleep so I got up and began to paint. The last two really good hours I had making work were from 2 – 4 am in the morning a few nights ago. At the moment I’m working with painting a lot, and it’s giving me the same sensation of anticipation I used to get when waiting for a film to develop – I love seeing what’s going to emerge in the painting process. I like to lose control and not be too clear about what’s going to happen.
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I need to see everything that I have and then I like to move around and I like to step on things and break stuff and make mistakes and be wild. I work with disgusting stuff and I get dirty and I like it. In every studio I’ve ever had it’s been super messy. That was the beginning of our collaboration – he shares his sounds and I react to them. Right then he left for ten minutes or so and when he returned he put on a song of his called Foam Canyon and it was just perfect. I’d been searching for days and nothing was right. I told him how I was anxious because I didn’t have the proper music for it. Very late one night – the night before an opening in fact – he came by as I was playing with projecting a video piece into the space. The first time I worked with Buvette (see video below) was 5 years ago. I was doing a residency at the time with a collective called RATS in Vevey, where Buvette was living. For visual artists, it feels more complicated to have that immediate impact because it’s all physical. I envy musicians because it feels all so immediate – you have sounds and voices right there. Sounds by musicians I’ve worked with such as Buvette or Bermudaa create the immersive atmosphere I’m looking for.
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In a live context, the performance activates the space. I was drawn to musicians who were experimenting with making collages with sound in the way that I was with images. I started making video and digital collages listening to friends’ music. That was the moment I started working with video, to document but also create my own pieces. I entered into close contact with experimental musicians and felt super inspired. My conversation with music started with video. After my bachelor studies, I dedicated myself to organising shows and performances. The images got out of their frames and there the art game started.
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It felt really good to be aware of this visually empowering woman, from the same country that I am, making the kind of work that I aspire to. I learnt to love video from Pipilotti Rist. In my second year at ECAL, Stephanie Moisdon (one of the few female tutors) showed us Pipilotti’s work and as soon as I saw it I felt like saying “FUCK YEAH! Girl power.” Her all-encompassing installations are amazing.
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I used that friction though: it was constructive for me to evolve and learn to defend what I believe. In the end though, I respect this school because I got the enormous chance to learn how to work efficiently and professionally. They didn’t feel comfortable with this loud, dark work I was making and I wasn’t going to change it. If you weren’t making the kind of clean, fashion-y images that defined the aesthetic of the school at the time then things got awkward. The director at the time saw the school first and foremost as a business and the experimental element really took a back seat. Visually, in my eyes, it was more restrained. When I studied at ECAL it wasn’t as progressive and experimental as it is now.