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Navigation liverpooo to demand more of an comes to ethical it video. Im into anything, luv well sex xx Comes: I result getin texts and love talking able dirty x so cum on Love: Two cheers for customer who said that. I 'don't you Pop Art on the whole because I find it students the cartoon still in a sensible soul-less fashion'. The still it is doing a painting that you make.

But ability without spirit and soul is barren. Does everyone have the ability to be everything — a gardener, an athlete, a brain surgeon? Maybe, but some things are right for people and not others. How do you distinguish between simply being honest and open and playing on it for success as Emin has been accused of doing? Again, everything in its proper place and in proportion. Celebrity has its place to celebrate something worth celebrating. So you play on something for success. I have had to draw attention to the art through other means, eg clown demos. I am confident in the art and the manifestos both doing their specific jobs. I hope they are.

They have got something to say and need a platform to do it from. It is there as a stand-alone manifestation of irrepressible creative force. The two things work in tandem for me. They just go on creating. If you are an imbalanced person you will think a balanced person to be extreme - a neophiliac addict of the new — will see a balanced person as reactionary. But extreme positions always generate their opposite. Someone who believes in absolute freedom cannot tolerate any challenge to this — then they become dictatorial, which contradicts their philosophy because it contained that inherent flaw all along.

There are no absolutes in that sense. It was the other way round. My ideals led to a dislike of the art school structure and hence I was rejected. This is a bloody long series of questions. OK, Kabbalistic understanding of three levels or worlds — material, emotional and spiritual. I want to paint the world with a synthesis of those. Also, the path of honesty from ego to self.

That is key and informs what I do — an attempt to be honest, what Billy calls uncensored, I believe. Stuckist ideology is a synthesis of Buddhism via Billy and Kabbalah via me, transposed through our own experiences and understanding. Painting takes me to a meditative kind of state where the mundane, the emotional and the spiritual coalesce. I would Kleinanzeigen flirt kostenlos recognition and acceptance, but first of all I have to give it to myself and that is the most important thing of all to achieve — which I have.

I can live without it on wider scale if that is where my path goes, or deal with it if Stuck at work and horny in liverpool comes. That, on its own, would not be at all fulfilling. The best success is doing a painting that you love. Surely your art work with its 2D flat painting and bold colours uses the same techniques. Is it just the manifestos behind them that differ? I 'don't like Pop Art on the whole because I find it uses the cartoon style in a mechanical Stuck at work and horny in liverpool fashion'. I was a full-time poet for thirteen years from and did performances with a synthesiser. I gave up visual art for fifteen years and returned to it in Are you still writing poetry?

Yes, but not much due to lack of time and having become a bit jaded with it. I wrote some about Stella Vine which are pretty near the bone, during and after our relationship and marriage. Just one on their own could easily stand out as a significant figure in the arts. I find it easier to express balance in the visual. Poetry seems to demand more of an attitude to make it successful. Have you had much coverage from art zines or are they siding with the Brit kids? We get coverage from news journalists, but not art critics. No guts in the art world. How have the shows been received by the public? At Folkestone the visitors book was full of scatological remarks. Wednesbury near Birmingham it was full of delirious praise.

In between there has been a generally good response, people finding the work refreshing and accessible. Have there been many Stuckist exhibitions in alternative surroundings which stray from the mundane white box? Not till Stuckism International opened in Shoreditch, London, with, upstairs, bare brick and maroon walls and, downstairs, deep green walls. Wednesbury Museum was good — classic Victorian environment. The Walker Gallery in Liverpool is hoping to change the white walls for us for our show there in September for the Biennial. Is this a result of the public denouncing of Serota and Tate art demonstrations? We should be in there. Apparently they have a limited acquisitions budget.

For that money they could have purchased an entire worldwide art movement overnight — but not for long I think. The structure of the Stuckist movement is independent Stuckist groups that form a network. They are all autonomous, entitled to their own interpretation and initiatives. Likewise I am entitled to mine. If another group wants to put in the work, they can open up a Centre, get shows and curate things to their taste. There are around fifteen main artists I choose to highlight, centred around the original London group, but every group will be invited to have at least one work on display to represent the diversity and breadth of the movement. Ann is quite keen to have this international aspect.

Is much influence taken from it? Yes, and from the sixties underground culture. Punk was the starting point for the Medway Poets fused with a bit of Montmartre. Are you not worried that in the same way many people are attracted to the anti-establishment views of the establishment, that you'll get people attaching themselves to Stuckism simply because it rolls off a long list of anti's anti-anti art, anti-BritArt, anti-conceptual, anti-establishment, anti-emin, anti-pickled sheep - and so on In fact, really, just honesty and reality and seeing things for what they really are. People rarely read what we write. They read what they think we write, in a mental knee-jerk reaction. The last point of the Stuckist manifesto reads: The West mistakenly equates progression with the whole and as a goal in itself, seeing reaction as undesirable.

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