Amy Cheryl, Michelle Obama, AMY discussed on Toure Show
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Today's guest, the incomparable Amy Cheryl D-, a woman, who's a brilliant painter with an amazing sense of color, and we're going to talk about that in her process and the whole story of how she went to the White House met with Michelle and Barack and ended up getting the Commission of a lifetime not long after she was broke Amy's also woman who's walking around with someone else's heart in her body. We're going to talk about that and she's also got a new heart figuratively by which I mean she's deeply love for the first time in her life and she lights up when she talks about it, we're going to get into all that and more. It's the legendary Amy Cheryl old on tour. So is that your last show? In Manhattan and there's this vine around the block of like. Especially Young. Black. And Brown people who? Many of them seem to have never been to a show before but like the Amy Cheryl show to them is like this is special and you have become this. ICON for these people who are like, you know I mean following the Michelle Obama painting like Oh my God. Amy. End NYC. How is that for you? Because you feel about like there's all these people who are coming into art for me like I'm a crossover star for a lot of these people. Yeah. I don't I don't feel like for me and I didn't know the line was out the door until afterwards it was so long and I somebody told me a pitcher and I'm like that was downstairs you know but I don't like it's. It's for me I feel like it's for the art. It's because people are hungry for it. You know what I mean. They're hungry to see themselves. In ways that they've never seen themselves And I do attribute. I can't I call it the Michelle Obama effect because she just has that effect on on everybody people love her and I feel like by default they love me and I just happened to make great work too. So that does makes it even better I. Think There's definitely an excitement at seeing a young black woman. Yeah. For sure making are being celebrated for it and they can understand the relatable in this reflecting. Yeah, it's loving. It's kind. And the vibe that night was all love you know for me to see young kids there was like really special. I. Think as I was walking around I was really excited to see five year old six year olds eight year olds that. They knew who I was and they wanted to take a picture with me and those were the most touching moments because. You know the Gallery said like we've never had this demographic in our in our space before. So that was probably the first time in the history of Howser and worth, and it's a global gallery so it was. A big deal and it's time it's time for that kind of stuff time for us to be in those spaces and to fill ownership and to be reflected on walls. And see ourselves and receive love back from those images. I love the work and I wanNA talk about the work and really dig into it, and one of the things that really leaps out is the color choices. It is so vibrant and. Yet not overwhelming. Can you talk about to some of what you're trying to do there. I. Everything that I do is intuitive. and. Try to do it is just what happens when I make the work you know so. I have an image in my head. I tried to find the right clothes and then figure out the background color and then everything kind of bills from there but you know. It's hard to explain because like now I work with With an assistant who helps me like mixing colors and stuff like that And the other day I was like I want this blue this particular kind of blue and I can see it in my head, but I can't communicate that colored to my assistant to mix, and so she mixes it and I'm like, no, that's not the right color. And so I ended up having to do it myself because I'm it's I'm very very particular about it and I can't explain it I just I can't explain it but I don't know whether you watch Do you watch the good place that? Of. Course. I love lives around the corner. Are you kidding me? So I see what to well. I, love him When They described color or taste I think. I think one of the flavors of the yogurt was like when your cell phone battery is charged. You know what I mean. Everybody knows what that feeling is like I feel like if I could describe my colors, it would be something like that and you know what I mean because it's an emotion attached to it as well and it's and I don't think I realized how specific it was until I had to work with somebody to help me and I say do this and they're like, nope, that's it's something that only I can do and yet. So the colors are vibrant and they really work on the eyes and get all the black people are this gray. Gray the same color over and over. Yeah. Why are you doing that? Story has changed over the past decade. So it starts off with because I thought it looked cool. It then graduated to. Later. You know because I'm not walking into the studio with a whole bunch of words in my head. It's like you make some work you look back at it and you have conversations with people on your that really make sense. So for me when I look back, it was because I was I think not wanting to work to be marginalized in a way that would Corner into a certain conversation about blackness and identity. and so I think I was struggling with that because I knew I was painting black bodies and I know black bodies or political and I know. Just because they're hanging in museum.