An interview with Claire Milbrath
Your paintings seem to communicate a certain softness of the often embarrassing, redundant or otherwise overwhelming banal. How is your work influenced by routine?
I often paint my characters bored, lazy, or anxious. Do you know that Waterhouse painting, Dolce Far Niente or It’s sweet doing nothing? I like lounging figures like that, especially male figures. The concept behind ‘Poor Gray’ is that Gray is a character trapped in the limited world I draw. I’m more influenced by existential restlessness than routine I think.
You have created a safe zone where sexuality is delicate and warm as well as natural and unapologetic. Can you describe your exploration of contemporary (lack of) desire?
That could be because I’m painting from a female perspective. I like to code the men as feminine and the women as masculine. I’m kind of satirizing current gender codes, so maybe it comes out unapologetic.
I do like making crass art, but I’m hyper-sensitive and romantic, so it ends up being soft and kinda laughable.
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