"The interesting thing about Hippies is how those male figures jump out from behind the central woman, and the painting did that to me—in the process of making it, the men said, “Ta-da!” They came out of the work. And I had to ask myself where to take it next. I think that Hippies should have come after the portraits it was shown with at David Zwirner this spring, but it didn’t, it came first. I decided to make six to eight portraits of incubi and succubae using the structural idea of a grisaille painting with a flourish of what is called cangiantismo, a sort of spectral color-wheel effect that contrasts the grays. In the 16th century the Italian viewer understood it as a signal that the supernatural had arrived."
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I’ve been thinking about the obvious aspects of painting, how it materializes things out of color. That’s something that happens vividly in your recent paintings, like Hippies 2013 and Mardi Gras Honeymoon 2015 where color asserts itself as a powerful generative force.
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Lisa Yuskavage
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