"Feel" Lizzy Ashliegh Official Music Video produced by It's Gold Brick
“We are not born racist. We are not born homophobic. We are not born with the majority of what’s dividing this nation. We are not born knowing what the dollar bill stands for. Those things are all distilled. How do we distinguish what’s distilled in that matter? What makes us politically correct? What changes us as humans? We are all blank canvases which are influenced through the people we allow in our bubbles every day. The question is, how do we allow those people to mold us? Who do we allow to shape us? How do we allow the people around us to make our lives more vibrant? Are they just making our lives more cluttered as time passes? Do they exist simply to ll our lives with information? Are they bringing value? Are they simply blurs of colours walking past us on a subway platform or on a street corner? Are we as people of colour simply supposed to tread carefully while we paint our lives and accept being able to potentially only pick up one can of paint at a time, in fear of being afflicted and harmed for pushing boundaries? Do we need to keep our eyes appealed while a white man can take advantage of holding many cans and do as he pleases without being disturbed or questioned? Are we as women to be expected to sit still and say nothing while we allow men to push limits and cross abject lines of gender inequality? No matter how those questions are answered in the end, inequality or not, race issues or not, the value of gilt, in whatever way the word is interpreted, drenches us down to our very essence. It has the ability to overpower any, if not all discrepancy. The white in this piece at rst, ows in its puddle as it begins to be symbiotic to the already all white set. The color begins splashing, dripping and pouring throughout our embodiment of art work. Sitting in neutrality, the gure of a woman of colour becomes a basis for transcendental expressionism and psychosocial analysis. Each person walking through Washington Square Park, whether aware or interested or not will be a part of this creation. The question being answered is the question that will always and never be answered. What in our minds divide us? Innocence, Morality or Knowledgeability. The Ego, Super Ego and the ID. This piece is the most proli c way to say nothing and say everything at the same time. There’s a whole lotta nothing in there and a whole lotta everything.” - Matilda Meades-Cubitt + Francis Virella, 2018
LOCATION: WASHINGTON SQUARE PARK DATE: APRIL 27, 2018 TIME: 3PM
COMMENTS ON COLLABORATION AND COLLABORATORS:when I thought about the people I wanted involved, there were really only two people who came to mind. Blaze has been a dear friend for going on 5 years, and was one of the rst photographers I met and worked with before I was a signed model. He had pro- duced many of my earlier photographs that I used for portfolios to submit to agencies. As a dancer he also has knowledge about performance work and he creates many con- cept videos of his own. One of his videos in 2016 was one of his rst concept videos that included me, and he had introduced me to 2 girls during that shoot that have been my best friends since- both of which I have collaborated with as models, as visual artists, and as curators and creators. Blaze lmed my previous project for Performance and Space and because he as a person has contributed so much to my life, by introducing me to my best friends, and always being open to collaborate and to work with me, it was import- ant for me to include him in this piece as this was my rst concept video I was creating. I had met Francis in Union Square when I was 18, and we had gone to many art galleries together, and actually hadn’t seen each other for 5 years but I reached out the minute this project came about because I knew that his work was already abstract and random as it was. The vision that I had for this project would have t his portfolio the same way his style of art and abstractionism would have t the vision of clutter and messiness that I was going for. It was interesting when we were asked how long we had known each other because we looked at each other and realized it had been 5 years since we had last seen each other, as college and work life got, albeit, messy- but we had picked right up to collab- orate for this piece as if nothing had ever separated us, and that truly made it that much more special; that life can be so crazy and can get so cluttered that it separates friends, yet there are still people who in uence your life so much that you could call them up af- ter half a decade and they would still be there in a heartbeat to help you and to work with you. There are levels to this. That kind of relationship is what I would call priceless- Gold
CREATORS NOTES: I initially wanted a very dramatic relationship between the white whites and the vibrancy of the paints. I knew I had this idea but I didn’t know how I was going to make it happen of it was going to execute the way I wanted it to. We had one shot, so we had to just go for it. I had talked to Francis brie y about how to execute it, that I wanted only one paint being picked up at a time to simbolize needing to treat carefully and slowly and choose wisely as people of colour, but I also didn’t give him much direction. I had told him what had inspired me and had brie y spoken to him about the gold paint being the last colour, but that was it. We sat down and I took a deep breath in, and then Fran- cis said to me, repeat after me, “Success and Prosperity Flow Towards Me In A River Of Abundance” (I repeated) and then he said, “Okay, in through the nose, out through the mouth” and the music started. I had focused my eyes on the NYU sign ahead of me, and I kept a straight face as Mariana Abramovic did but I didn’t know what was coming next. I couldn’t move even if I wanted to. My body had become so nervous and anxious for things to go to plan that it was physically stuck in it’s state. I saw out of the corner of my eye a paint splatter but I didn’t know what colour, or where the paint was coming from. The unknown made me uncomfortable and the randomness of the direction of the splatters made me even more anxious. The more paint, the colder I got, and the weaker I felt, which also gave me a sense of vulnerability I hadn’t experienced, in addi- tion to the vulnerability I was already showing from sitting in the seat infront of a live au- dience. A few people walk by, and I saw a man on the bench stand up as soon as he saw the rst paint splatter. Slowly more gathered and more pull out phones, and I realized I had become a centerpiece. Not my project, not my concept. Me, as a human being, and that triggered so many thoughts in my head about what others were thinking, how they were interpreting the piece, and whether they had considered it as a deep piece as much as I had. When I looked up and Francis was wiping his hands away and whispered “Okay” and looked at me, it took me a while to grasp what had happened. We didn’t plan what I was to do after the piece was done. I moved my head the slightest and nod- ded, over and over again, thinking about what inspired me, and how the experience of having almost no control over what others were doing or how people were treating me, while I sat there really was symbolic to the way my life had been over recent years and recent months. I didn’t know what to move rst. My hands? My legs? Did I stand? Did I look up? I got up slowly and I exhaled, and then I paced, trying to gure out how to respond to people standing there clapping. I walked off the tarp and spit the paint out of my mouth, and then a rush of cold hit me. Maybe from the anxiety, maybe from the paint and the weather and mild drizzle of rain. Who knows. We walked into the set in all while, and we left, shivvering, and drenched in paint.