JULIE TORRES

The ghost in you, acrylic on paper, 9 x 12", 2011

What are you working on in your studio right now?

At the moment I'm interested in making large, interconnecting paintings that consist of many small pieces, like a puzzle. It forces me to think about each separate piece in different ways- how they work individually, how they fit together, what they bring to the whole work. I'd like to get up to a hundred 9x12 sheets-- The furthest I've gotten is 55 sheets.

Can you describe your working routine?

I have a full-time job, so my strategy is to paint every waking minute on Saturdays and Sundays. Since time is limited, I embrace techniques that immediately alter my thinking- such as Live Painting and Marathon Painting. Throwing myself into an exposed, vulnerable state is very intense and also wonderful. It helps break down my walls, remove me from routine, and free me up to work loosely. I find that I'm inspired and energized by the uncertainty and discomfort that come with painting for very long periods, or in strange places- like out on the sidewalk.

work in progress

Can you describe your studio space and how, if at all, that affects your work?

I have a one-bedroom apartment in Williamsburg, and I use my living room as my studio. It's great! I have plenty of light and space, and I can just wake up and start. It allows me to be very free, spontaneous, and extremely focused at the same time. I tend to paint for long stretches- between 8 and 12 hours. I love the immediacy and proximity, and I think it helps to keep my work fresh. I never have to push myself out of the door, I can just squirrel away in my studio! Laziness works for me!

12 hour painting marathon with Austin Thomas

read full artice on Two Coats of paint

Tell me about your process, where things begin, how they evolve etc.

These days I mostly work on the floor, with acrylic on paper. I make a huge mess and try not to edit anything I do as I do it. If I have a good idea, I usually don't know about it till after it's done and on the paper. After a full day, I look back over everything and usually I can find a few good ones in there. Sometimes not. I eventually paint over the bad ones. I love working on paper because it allows me to burn through tons of paintings and follow my impulses. I love to be fast, loose, open and reckless. Painting is the only place I know how do that.

 

 

Rocks, acrylic on paper, 18 x 24", 2011

Stones, acrylic on paper, 18 x 24", 2011

What are you having the most trouble resolving?

I'm in a pretty decent groove right now- making work, exploring new ideas, seeing lots of shows and hustling my tuchus off! My main issue is trying to find time for my personal life somewhere between being an artist and making a living. I'm having a very selfish period of my life right now and it's kind of awesome. I just wish it wasn't quite SO selfish.

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

I like to use materials I know I can trust. Sometimes painting feels like running across a tightrope. If I know the tightrope is reliable, I can really move.

What does the future hold for this work?

I'm very excited to expand upon marathon art-making, and I've organized a group of my favorite artists to do just that in the upcoming event, 48 HRS. Several of us will stay in a Williamsburg gallery for a full 48 hours- creating new work, sleeping over in the space- and opening the show up to the public for the final 12 hours. Here are the details! 48 HRS, Opening Sunday, October 23, 12 noon to midnight, Camel Art Space, 722 Metropolitan Avenue at Graham Avenue, 2nd Floor. www.camelartspace.com

Is there anything else you would like to add?

Thank you, Valerie, for including me on your wonderful site! I refer to it often for a burst of inspiration, and to see 'what's going on' out there. I also want to thank artist Geddes Levenson for introducing me to 12-hour painting marathons, and the brilliant Austin Thomas who inspires me nearly every day.

Morphed,  acrylic on paper, 12 x 18", 2011