[JC: Yeah, that’s ’cause I don’t dance at home, so I’ve built it up. I don’t mind-it’s fine. Lately I’ve been making a lot of still lifes. I find I often like walking next to somebody, because the conversations that you have—you can have long pauses without the pressure of eye contact.EP: But did you know there’s something special that comes out in your brain when you’re walking? If you’re feeling that, maybe other people need that to.”“Failure is just something you have to go through on your own. I’ve always been disciplined and I’m still nothing if not conscientious.”“It’s easy to have inspiration and have a vision and an aesthetic, but if you don’t have the execution and you don’t get it out there properly and on time, it doesn’t matter. But then 10 minutes later it’s gone. And then when you came out, you decided that you wanted your band to be your sole livelihood.JC: It did happen, yeah. And it gave me mostly a great time.”“I’m trying to not play it safe. It’s a nice feeling to thin that through painting, that moment does exist forever.EP: I’ve been working from life a lot in the last few years, and one big element of the picture is just a record of two people being in the same place at the same time—which can be very powerful.

And I’ve always been a soldier.”“Risks are very important to me. So things that wind up in those paintings are a little more immediate. I’m proud of my work, but I think that it implies a kind of risk that’s really important for making art: you have to throw yourself out there. But I think people don’t really notice what people actually look like. I will continue doing things the way I have done them my whole life. To meet them and see that they’re complicated and weird or shy or any of those things sort of makes it even better—to know that they can rise above that and make something great. That’s something that I’ve never consciously thought of. I think that there are so many things going on in people all the time, and all these thoughts and decisions come out in your decision-making and how you look. That’s the purpose of it. Because you can observe them full on and they’re looking away, so part of the exchange is not happening. That’s what I was interested in. After all, he’s been modeling for her from day one, even if he didn’t know it at the time. But for me, portraits have never gone out of style.So you loved portraiture even when it was considered unfashionable by many in the art world?Was it difficult feeling somewhat excluded as a young artist? It seemed like you were talking a lot more between the songs. Life “It’s easy to have inspiration and have a vision and an aesthetic, but if you don’t have the execution and you don’t get it out there properly and on time, it doesn’t matter. I get so excited that it actually is there.” There was another quote that said, “The fan thing conjures up that something’s missing, that there’s an inadequacy.” We’ve just been talking about how performance is my way of dealing with inadequacy.

Is it the eyes? Humanbeings especially-we can’t hold on to them in any way.JC: No. There was that moment onstage at the 1996 Brit Awards with Michael Jackson when you sort of showed him up because he was being such a jerk. It’s the only thing that will define the next career move or else I’ll be plateauing. I suppose that’s where I changed the focus of what I wrote about. It’s Friday which means it’s time for another Phaidon Muse Music playlist. I’ve never worked on any moves. She didn’t ask me, of course, No! He had this wonderful sensitivity to art and music… And he gave us Richard Wagner. You know, a lot of people are quite androgynous in the work, and what is it about a human? But it made me feel more awkward than usual.JC: No, I was very pleased.
The Brit Awards are like the English version of the Grammys. I saw him perform—this is Jonas Kaufmann—I was making so many pictures of him and then I got to meet him. Yeah. So I was always very shy. I think everybody is beautiful, can be beautiful… It’s sort of a matter of choice in some way.It sounds a little strange, right? Since her career took off after her first New York City show in 1988, her subjects have included superhuman icons like Kurt Cobain, David Bowie, Prince William, Napoleon, and John Lennon as well as more immediate flesh-and-bone personalities like downtown artist Spencer Sweeney and designer Marc Jacobs. I feel like while I’m alive it’s good for me to speak up for my work, because how I feel about my work and how I see it are so different from how I see it reflected back to me in other writing. But I’m not interested in celebrity at all. Or do the faces find you?Oh they find me! It’s kind of like drawing. You want that note from a string so you tune it until it almost breaks – but then you get that note. The new songs are very hard rock.JC: I think it’s probably a midlife-crisis thing. Have you ever seen the film JC: I think, generally, the two of you look quite similar. I was thinking how they are very similar things. I expect that of myself, that’s for sure.”“It’s a huge peace to allow yourself to be vulnerable. That recognition.EP: Right. Elizabeth Peyton: It came from some text in my working photos. Life is my guru.”“I don’t want to be pigeonholed — it’s important to keep evolving, experimenting and reinventing yourself, otherwise it’s like hitting a drum, the same note over and over again. I mean, I don’t know, but I don’t think so. So, fascination? An Interview with Elizabeth Peyton Leanne Shapton. The little quirks, the details.JC: I’m going to go to a supermarket down the road called Shopi. Like, I’ll get stuck on a building and want to make a picture of it.JC: You’ve got this big show coming up at the New Museum. I heard that you didn’t like the paintings I made of you. Peyton Elizabeth Lee from "Andi Mack" came through to dish all her most embarrassing moments. Elizabeth in the office at Gavin Brown’s Enterprise


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