MICHAEL WILLIAMSArt Portrait
Interview Bill Powers
I SORT OF VALUE DRAWINGS MORE THAN PAINTINGS. THE DRAWINGS ARE THE EVENT, WHERE THE IDEA HAPPENED. THE PAINTING IS LIKE A BIG MOVIE. THE DRAWING IS LIKE YOUR KID’S BABY TOOTH – IT’S SPECIAL.
|BP I had a realization recently that I’m allowed to have feelings about my feelings. If I’m angry, I can choose to be disappointed in myself or sad about that anger.
MW Right, but it’s difficult to have that perspective when it’s all occurring inside your body. For me the great thing about painting is that I can use it to externalize my mind’s images and my body’s actions, and then I can look at them as sep- arate from myself, and I can have a second thought about them.
BP I went to see the Delacroix retrospective in Paris a couple weeks ago. I never knew that his famous Lady Liberty painting was made a year after the French Revolution, which makes me wonder if he was actively trying to pander to his countrymen.
|You mentioned earlier that you think all artist’s just make what they can make, or what they have to make, but this was an artist looking to connect with an audience. You don’t feel like you’re ever doing that?
MW I mean of course I think about who might be looking at my paintings. But why do you think Delacroix wanted to please his audience? I mean c’mon if you walk into the studio and nobody is telling you what to make you’re making what you want to make. Some people are more concerned with pleasing the viewer, and that concern along with all other con- cerns gets mixed into the urge to paint.
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