THE END OF LOVE: WALTER ROBINSON INTERVIEWS REBECCA LEVEILLE-GUAY

"(Rebecca) Guay's work of art demonstrates a particular impact from the considerable Renaissance aces, patched up with a new measurements of contemporary tidiness and edge." We composed that a couple of years back about Rebecca Leveille-Guay's compositions, and we feel a similar today. Here most up to date works of art, entitled The End of Love and on see at Untitled Space in NYC from May 1—13, 2018, are lavish and full, folkloric and sexy in shading and topic. Walter Robinson, the regarded Neo Pop painter, sat down with Rebecca to talk about her most recent show and what she implies before the finish of affection.

Walter Robinson: I have a simple one to start: What is your earliest memory of being an artist?

Rebecca Leveille-Guay: Drawing Wonder Woman. Seven years of age. Page after page after page of her pursuing awful folks ( as a rule bank burglars with jewel pieces of jewelry dropping out of their pockets). My fixation on her from an early age put me on the way that I have been as long as I can remember as a craftsman.

I have other critical recollections around that same age that are craftsmanship related. I won my first craftsmanship challenge (a representation of my first grade instructor Mrs Bode) and the going with feeling of accomplishment that was inebriating. I have recollections of my mom who went to Mass Art demonstrating to me generally accepted methods to draw a face and how to separate the situation of the eyes, nose, mouth, and so on… however for the most part it was drawing Wonder Woman.

Clearly fantasy fiction has always been about a imagining a magnified agency—magical powers—for an oppressed protagonist. We’re all well aware of this but Hollywood is especially slow to get on board, only lately coming up with Wonder Woman and Black Panther, which are rare entries in the masculine superhero cosmos. Hmm, so what’s the question ...?

Ha right! I think to accomplish something as artists,in request to climate the tempest we need to hold tight to our indications (dreams?) of inward power. Maybe this is valid for all things and maybe its why the hero paradigm is so speaking to numerous individuals. The hollywood acknowledgment of the business quality of intense legends that don't fit the standard white male arrangement is new. Ladies have been solicited through the mass from impacts inside composing, culture craftsmanship history and so forth… to fit themselves into another person's skin so as to make due; to fit themselves into the legend's trip notwithstanding when that saint is for the most part a white man. Presently we are starting to request that men fit themselves into the voyage of another kind of legend.

I have seen it inside the workmanship world too. As an understudy of workmanship at Pratt, at that point going into the territories of craftsmanship that I've been in (inside the enormously male commanded universe of funnies to the dominatingly, however changing, male ruled universe of display workmanship) I feel that there has been a something of "Superman" complex all over the place.

While there have clearly been compelling female voices, a significant part of the stylish of contemporary craftsmanship (and all workmanship history) has been managed by white guys of a specific foundation. I have felt and seen ladies specialists pack down parts of what they are to attempt to make due inside the structure that has been set up in both business and display craftsmanship. Im expressly inclining toward every last bit of it at this moment. Im inclining toward my expertise, my photos, my past, my heart, my feeling, and endeavoring to give those genuine things to the work. As a craftsman I have an inclination that I have my red stiletto boots on in a universe of sensible, satisfactory footwear. Along these lines, I visitor I addressed your un-question with an un answer . . .

Some exhausting ones: Do you utilize models? What craftsmen in history do you respect? Have you at any point been censored?

I cherish these stray pieces questions and shockingly don't get asked them as much as you'd think. Models: for the most part no. I will gives bits a pieces for a major painting (my hand at certain point my foot in a shoe) to nail the subtlety of a particular detail. Generally the best outcomes come when I lean vigorously on drawing the figures from my creative energy. My preparation has been intensely figure based and I've completed many hours of figure drawing from life-however I've completed a great many hours drawing from my head. Aptitude is seen with an embittered eye inside workmanship, however we as a whole should perceive the thing that is our super power. I feel mine is that I can draw figures from any point in gatherings or alone, in my very own universe making, without being hampered by the bounds of reference or models. I point do it without executing provisionalization or improvement for the figure to keep up the expert inside the work. Its in such manner that I feel that I can offer something that not every person can. Working along these lines feels unimaginably liquid and legit to me.

With regards to the craftsmen I respect there are so many.To name an a couple of top choices: I worship Romaine Brooks, Gerda Wegener, Titian, Kara Walker, John Currin, Inka Essenhigh, Toulouse Lautrec, Camille Claudel, J.W. Waterhouse, N.C. Wyeth, Walton Ford, Kerry James Marshall.

On Censorship: My boldest pictures recently of the male figures with blossoms and phalluses have shockingly never been controlled via web-based networking media. I figure there's dependably a first time however, so we will see! In my past inside business workmanship, you get asked so regularly to not indicate stuff that you can't call it control its simply the idea of the brute when you work in that world. It's important to pitch a book or realistic novel to put yourself second and the undertaking first. When I painted a Green Lantern Graphic novel for DC there's not way I could have had naked male figures with blooms rising up out of private parts and have them permit it. Its why I don't do that work any longer. It isn't so much that I have to do this kind of provocative picture constantly, however I generally require the opportunity to have the capacity to do it. The test now is elbowing my stylish and my own voice into a craftsmanship word that has regularly verifiably been not as much as thoughtful toward figuration and components of account. I do see this changing also especially since the Unrealism demonstrate a couple of years back. Exhibitions that would have had nothing to do with figure or story works are currently speaking to craftsmen who talk inside that dialect.

What role does desire play in your works?

My god what else is there? The string exists in everything for me. I'm especially intrigued by portraying female want. In the a huge number of years of allegorical work done by male craftsmen we've seen painting in the wake of painting of blushing breasted dewey-peered toward lazy, flushed ladies from Titian to Currin. These things are unmistakable manifestations of female sexual want through a male look. Numerous specialists have processed this so completely that even ladies craftsmen frequently convey back the male look itself as a women's activist proclamation, making MORE pictures of hot ladies. By and by, while the sexualized female frame has a major influence of my work Im. I'm totally captivated by painting sexualized epic male structures from a point of view of what is frequently discovered alluring from a female look. Moreover, I'm most inspired by symbolism that is at the level of myth and original - as opposed to a type of variant of female look that speaks to what my better half or neighbor of some other everyman looks like as a question of want.

What kinds of constraints do you impose upon yourself?

I make an effort not to force any-however we as a whole have them unwittingly. I'm for the most part endeavoring to make sense of whats keeping me down that I'm uninformed of. When I recognize it I follow up on it in the work.

Is your work illustrational? Realistic? Decorative? Expressionistic?

t's unquestionably "Illustrational" - I like this expression. It's non-literal, alluding to picture and indicating an aggregate account that has recorded, current, or popular culture importance to me and to others. My inclination is that all craftsmen working along these lines are illustrational, that incorporates individuals from Currin to Yuskavage to Michelangelo and some other painters utilizing these devices.

In any case, I would not state that this kind of "illustrational" work is "delineation". The objectives of delineation are extraordinary (I say this without judgment as to esteem). The objectives of an expert Illustrator are to make reliable, keen pictures in support of the story or source message above all else. "Delineation" as a specialty is intended to support and upgrade the going with material-as opposed to be taken alone as having goal all its own.

Reaslistic?: maybe

Decorative?: yup

Expressionistic?: you betcha

Questions of patriarchy, gender and feminism are again up for discussion. What are your thoughts about the circumstances of (advantages of? issues for?) both women artists and female protagonists in narrative and figurative art?

You hit on something I consider an extraordinary arrangement. As of late I read an awesome meeting in which a lady who was a political consultant discussed how female political hopefuls in the past needed to "take it like a man" and basically carry on in the way that male government officials act with a specific end goal to work effectively. Female applicants pack down feelings since indicating them is likened with shortcoming. They haven't been capable keep running upon the individual qualities of enthusiastic articulation that ladies regularly have. These qualities, while not general to all ladies or completely elite to ladies, are pertinent elements and imperative contrasts between the genders.

I trust we are on the cusp of a portion of these things becoming an integral factor inside how ladies convey what needs be as specialists in the craftsmanship world. Ginger Rogers needed to do everything that Fred Astaire did, however in reverse and in heels. That occasionally feels like how we as ladies have needed to acclimated to things as specialists.

For all the ferocity inside the workmanship world there is a dryness also. Theres been a stuffiness toward expertise and up to this point (all) figuration inside the avante garde. I frequently feel like I'm infatuated with the conceivable outcomes of what can occur here as opposed to with the work that is really done. I can't resist the urge to feel that a portion of this dry, expository atmosphere is made from a comparable root put that asks ladies in governmental issues and business to be more similar to men. A couple of craftsmen hit me extremely hard in all the correct ways, and a couple of scholars and displays give a similar electric idea shock (I was in the Spring Break Art demonstrate this year and I saw such genuine vitality in this condition). I might want to see things get considerably looser and more out of control and more receptive. Possibly the craftsmanship world needs more hot sex with the lights on.

And then in advance of your new work I have: What do you mean, “the end of love”?

I go into this question with the dual desire of wanting to spill my guts on this new body of work, and wanting to be more enigmatic. I will say that there is potency with the phase the poses many meanings to me personally. My inclination as an artist is to be a story teller. I could no more deny this than I can grow a new head. My "stories" are non literal and aim to refer to a mythology of my own making rather than an external mythology. My vocabulary as an artist is built upon the a symbolic language of cultural influences. When viewing the paintings for this show I hope to give people more questions than answers. What DOES "The End of Love" mean?