HANS ULRICH OBRIST In your paintings you have a very clear methodology, which is actually quite conceptual. It sounds like, in a sort of On Kawara way, a painting a day. Can you talk about this? It seems that with a painting, no matter what, you finish it.
LYNETTE YIADOM-BOAKYE Yes, exactly. That started off as being a practical consideration: the way I was initially painting, if I didn’t finish in a day the surface wouldn’t work, it would dry at different times, so it was completely a structural thing. Then I started to realize that the way I was working was as important to the work itself as the finished product, it was about reading between works rather than becoming very precious about one. It’s to do with the way I think: I say it’s a short attention span, but what I mean by that is that it’s one thought and it’s fresh in my mind. It’s about a certain kind of urgency and capturing that time frame. Because if it were dragged out over days I feel like the whole resonance of it would go, it would become a much more labored process and I would personally become too precious. If I get to the end of the day and something hasn’t worked I don’t sleep well. I’d rather destroy it than think about it over night just to come back and try and force myself to like it.
HUO It’s interesting also because you say that you don’t fix the particular narrative behind it. The paintings are like snippets or part of something, it’s almost like the viewer writes the stories. Duchamp said the viewer is half of the work, Dominique Gonzales Foerster says the viewer does at least half of the work. It seems to be the case with you as well.