With my work you actually know at the beginning what it’s going to be. I plan everything out before I actually start making the piece. There’s always a chance, and it’s happened many times, that it doesn’t work out. I take the canvas off and throw it away. But usually, because it’s sort of done before it’s started, I don’t even have to make that decision. When something doesn’t work, when I’ve had to abandon something, it’s usually been because there was ultimately just no humor in it—or no “A-ha” moment—because there’s something missing. I have a friend whose paintings are never done, he might pick something up years later and add something to it. I’m not that kind of painter, for better or worse. I look at work I did five years ago, and I can’t imagine going back to it. I’m not the same person I was then. I’m not the same person I was even five months ago. When the moment is over, it’s over. I’d rather not spend time rethinking something. Instead, get up. Go outside. Go for a walk. Then make something new.
Originally asked
The Creative Independent, to working artists, its interview series
A repeated process question in The Creative Independent, asked across visual art, music, writing, performance, and mixed media.
You answer as yourself. Nobody on FLAPSS answers as anybody else.
Diana Ruzova, The Creative Independent interview source ↗
Others on this question
View all 67 →I guess it’s by some degree of my own satisfaction. It’s not numeric. For instance, I’m very proud of async , but in the 90s, I was making fake R&B, fake House music, and fake Hip-Hop music. I don’t like that. I’m not happy about it. I wish I could erase that time. Making film music is different. It’s for other people, not yourself. It is still my own music, but it’s for other people. My solo work is entirely for myself, so it’s judged by my own satisfaction and whether I have proceeded enough, if I have pushed myself to another level. That’s how I judge it.
When I look at a piece and I feel like it’s done. Usually I feel like everything is sitting where it should be, and nothing’s out of place. If I turn my back to the work and turn back quickly, nothing stands out as wrong. All the different elements seem content where they are. Nothing is too off and nothing is too perfectly placed. Everything has to be where it should be.
Well, I feel it. If I don’t feel it just the way I want it, then I’d rather destroy it than to keep it.
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