The Deeper(est) Meaning of Liff

I like to have arguments with myself.

“That’s the most useful and intelligible thing anyone’s said to me all day”
Alright h2g2 fans I’m off to Coachella but no worries I’ve got a nice queue lined up!


“That’s the most useful and intelligible thing anyone’s said to me all day”

Alright h2g2 fans I’m off to Coachella but no worries I’ve got a nice queue lined up!

(Source: cinestalgia)


Paolo Troilo (b.1972, Italy)

Paolo Troilo’s artistic expression characterizes for the originality of the formal procedure. His working instruments are not brushes or palettes, but only his hands: one spreads colors, unfolding at the same time his five fingers, the other holds the mobile phone, which reports the picture of him as the model. Troilus’ painting is predominantly bi-color, based on the use of ivory and “gray payne” or ivory and “green bladder”. This choice gives strength and vigor to every brush stroke. Since 2006, Paolo Troilo took part to Miart, Art Verona and to many group and solo exhibitions.

[more Paolo Troilo | artist found at fer1972]

(via dramatlcalmurder)



I recently had the chance to interview artist Gregory Euclide, whose works often blur the line between painting and sculpture, installation and relief, representational and ethereal. Much differently than other artists with whom we have spoken, some amount of Euclide’s work is lost when viewed from a computer monitor or on one of the pages of the major magazines that have printed his art. This transition from impact to accessibility is one that he has given much thought, and his overwhelmingly interesting process has been affected by it. Euclide comments on this and more in Part I of our interview, below.

Does the modern method of online consumption ever affect your method or do you just deal with the inevitable consequence that comes with the perks of massive sharing through the internet?

 I have been taking more process shots and movies to give an indication of how the objects are made. I think that quite a bit is missed when you look at my work in a flat image, But for me that is kind of the point – that is why I started making relief work. I was aware of what the internet afforded the viewer… the ability to see the world from a central location. The problem is that we make sacrifices for convenience. We did the same thing with music, we accepted the inferior mp3 format because it allowed us to take it with us, to store more, to download easier. 

Speaking of method, how do you start one of your relief-type works? Is it responsive to materials you collect or do your wide, tonal slashes ever dictate direction?

I often start a work with an abstract gesture… something more like dance or something that mimics the movements of the natural world I am dealing with. I have drawers and drawers full of organic materials and inorganic materials. After I start making some imagery I determine what materials are going to go with what I have developed. It’s a collaging of materials and color, texture, history and meaning all come into play at that point.  



But you seem to accomplish just as much with just one large surface in monochrome, which is more challenging? 

As you might guess, they are just different. The relief works are labor intensive and I need to make sure everything is built correctly. The sumi ink works are much more direct. I am simply painting. I don’t need to stop for three days to build a bridge or cut out shapes in paper. Although recently the sumi works are looking more and more like the relief works… and I suppose they will continue to do so until they are full on reliefs. 



Catch Part II of this interview here.

Visit for more information.

(via improbablenormality)

“I always seem to be cast as slightly wan, ethereal, troubled intellectuals or physically ambivalent bad lovers. But I’m here to tell you I’m quite the opposite in real life. In fact I’m a f–king fantastic lover.” - Benedict Cumberbatch

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