1
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The great angel is located at the entrance and the exit of the amazonian field

2
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he is the finality or the first child, that I don't really know.

3
00:00:28,000 --> 00:00:34,000
Anyway it's a figure that has a really big terrestrial body

4
00:00:34,000 --> 00:00:36,700
and, in the same time, a celestial body, eyes made of antique glasses

5
00:00:36,700 --> 00:00:41,700
...a very ancient mirror who doesn't have any anecdotes about it's body

6
00:00:41,700 --> 00:00:46,700
it's an amazonian body, without anecdotes, without history

7
00:00:46,700 --> 00:00:48,700
...in fact it's an eternal body.

8
00:00:48,700 --> 00:00:50,700
What is the Amazonian Angel?

9
00:00:50,700 --> 00:00:53,700
The Amazonian Angel is probably my dream.

10
00:00:53,700 --> 00:00:57,700
Maybe it's the biggest wish I've ever made,

11
00:00:57,700 --> 00:00:59,700
maybe it's who I am.

12
00:00:59,700 --> 00:01:01,700
That I don't know either

13
00:01:01,700 --> 00:01:05,700
It's a clear figure, that's really really clean

14
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that is absolutely moral

15
00:01:07,700 --> 00:01:09,700
Nietzsche spoke about the Übermensch

16
00:01:09,700 --> 00:01:13,700
... I don't believe in it, I think that the angel, curiously for me

17
00:01:13,700 --> 00:01:15,700
is a human being if he's really human

18
00:01:15,700 --> 00:01:19,700
in the same time, it's of course an androgynous figure.

19
00:01:19,700 --> 00:01:21,700
I don't mean feminine

20
00:01:21,700 --> 00:01:25,700
I think that you've also mentioned other winged figure?

21
00:01:25,700 --> 00:01:28,700
Winged? That aren't angel?

22
00:01:28,700 --> 00:01:30,700
What would they be then?

23
00:01:30,700 --> 00:01:31,700
Harpy?

24
00:01:31,700 --> 00:01:34,700
Ahhh! but they're also angels

25
00:01:34,700 --> 00:01:40,700
for me the harpies and demons are all part of the same world, that's part of the angelic.

26
00:01:40,700 --> 00:01:45,000
Absolutely, I really do not see the angel like it's seen by any religion

27
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it's a religion that also amazonian, and it comes from the depth of Babylon

28
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A harsh world where Ishtar was still on Earth.

29
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And where she certainly had harpy's claws and angel's wings.

30
00:01:58,000 --> 00:02:02,000
They are complete beings, for me they're what's the most complete.

31
00:02:02,000 --> 00:02:06,500
What is the amazon for you, is it the amazonians or the jungle? Or both?

32
00:02:06,500 --> 00:02:10,000
It's the amazonian jungle of course!

33
00:02:10,000 --> 00:02:15,000
it's the most exquisite, the most extraordinary and also the most terrible plurality.

34
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And so I've slept on my back.

35
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A hand to protect the frontiers of the sex,

36
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a hand to look through the sun rays,

37
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another one to arm the heart,

38
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the fourth one like a hedge, over the lips.

39
00:04:49,000 --> 00:04:52,000
A hand to protect the frontiers of the sex,

40
00:04:52,000 --> 00:04:56,000
a hand to look through the sun rays,

41
00:04:56,000 --> 00:05:00,000
another one to arm the heart,

42
00:05:00,000 --> 00:05:04,000
the fourth one like a hedge, over the lips.

43
00:05:04,000 --> 00:05:10,000
the fifth one to close my eyes, whose's suspicion was too dazzling,

44
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one to dig the crease on the forehead,

45
00:05:15,000 --> 00:05:20,000
the other one to support the affront of the sun, without sex and without arrow

46
00:05:20,000 --> 00:05:24,000
the smoothest and most unified body of the world

47
00:05:24,000 --> 00:05:29,000
night after night, overcame by a gorgon's gargoyle mask

48
00:05:29,000 --> 00:05:33,000
and a trace of a stored seesaw,

49
00:05:33,000 --> 00:05:37,000
against which I occasionally came leaving my sweat

50
00:05:37,000 --> 00:05:45,000
exhaling my dark plinth, my forbidden sadness.

51
00:06:18,000 --> 00:06:27,000
It was a time of shortage, where they will cover me with salt, under which I bend. Me, and my seven figures,

52
00:06:27,000 --> 00:06:33,000
one of them belonging to the enigma. (repeated)

53
00:08:44,000 --> 00:08:49,000
First, I addressed the time, then the language.

54
00:08:49,000 --> 00:08:53,000
And then I though about it like a mirror standing above the salt of the abyss

55
00:08:53,000 --> 00:08:56,500
I lived until the thirteen hours of your fragile morning

56
00:08:56,500 --> 00:09:01,000
spreading the excess of your minutes, and their primordial water.

57
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And in the dandy chopper, adding the progress of the fire

58
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through the smoke, a church entered my body,

59
00:09:13,000 --> 00:09:20,000
by taking the safest alley, in war against life, which choose the narrow ways of sex.

60
00:09:22,000 --> 00:09:27,000
I cried on those first chapters of this tolerated first dawn.

61
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My arm held thigh by a weary necklace, on my exposed breast.

62
00:09:31,000 --> 00:09:42,000
The shadow had blown away what we left of the yellow bright wine. (repeated)

63
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Rising insomniac moon

64
00:12:47,000 --> 00:13:18,000
Marble... Smoke. The Mouth, Underground... Will find... Black...Soil.

65
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I found in your mouth, the taste of the sea and lavender.

66
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(the sea) and I incline myself in front of the unique foam

67
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(lavender) the one from my time, manure of my life

68
00:13:30,000 --> 00:13:37,000
(foam) Your gaze is so dark and broad, that for a thousand years I've search in those hostile straw (salt)

69
00:13:37,000 --> 00:13:41,000
I want you to stay right here by the pure furor of my saliva

70
00:13:41,000 --> 00:13:53,000
(enamel) I sing calmy in your closed ear, and you salute in a movement so long (saliva) that our edge burn endlessly

71
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(the ear... without an end)

72
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(speaking german... ¯\_(ツ)_/¯ )

73
00:19:08,000 --> 00:19:13,000
I have returned in an immense insomniac moon

74
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In my body, marble sieve, where tremble invinsible smoke

75
00:19:17,000 --> 00:19:24,000
when I want to inflate your mouth with pale flowers, when I want to take your underwater face

76
00:19:24,000 --> 00:19:31,000
and follow the excessive writing of the lightning, on the surface of your raw cum.

77
00:21:24,000 --> 00:21:29,000
(speaking german...)

78
00:24:41,000 --> 00:24:46,000
Will we fly together once more? On the one with the bursted back,

79
00:24:46,000 --> 00:24:51,000
in the bluish cornfield and the fiery reflect.

80
00:24:51,000 --> 00:25:13,000
Will we hold open the sliding breast and the slit of every tremors, with the bright fire of all the dead language (repeat)

81
00:25:22,000 --> 00:25:30,000
Will we write us! us! us! using blood and honey, and about our trips over the quarry, in the firmament.

82
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Parchment for the future of the amazon.

83
00:27:49,000 --> 00:27:56,000
While dating her, I tent the wind, and it's large purple and hyacinth birds.

84
00:27:56,000 --> 00:27:58,000
My dear and unique travelers.

85
00:28:47,000 --> 00:28:51,000
The androgynous one in each of my psychic dwelling.

86
00:29:07,000 --> 00:29:12,000
The urgent queen arise from their only origins which is the tone.

87
00:29:13,000 --> 00:29:25,000
They rise from fuliginous futur, in the frame of the masterpiece, where I sow laughing powder with the color of true love, on the drawing of the loved body.

88
00:29:26,000 --> 00:29:31,000
Here the blue and the red embrace to make a soaring passion violet.

89
00:29:31,000 --> 00:29:38,000
Where dawn bite de sole of the overseas, for the birth of the Three of Life in sienna,

90
00:29:38,000 --> 00:29:43,000
as a belly button of a tall goddess resurrected.

91
00:30:13,000 --> 00:30:20,000
Tense from future lights, the strength, in love with the women but standing with audacious dream

92
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and it gives her, in a powerful move, the fiery wings of the becoming being.

93
00:30:26,000 --> 00:30:32,000
She loves me. (repeated over and over)

94
00:31:59,000 --> 00:32:07,000
Amazons, warriors, witches, nuns, simple actresses of themselves

95
00:32:07,000 --> 00:32:17,000
bitching and loving, wearing roots, brief, hybrid, their imboile guts, screw at the bottom of the sowed deaths.

96
00:32:17,000 --> 00:32:27,000
where they tears the outdated butterfly, thus, to form this petrified universe, their fable saliva.

97
00:32:27,000 --> 00:32:41,000
Conversing sisters, there, behind the black birch, they speak a mythical german, and their wondering tongues, caress an open speech.

98
00:33:43,000 --> 00:33:54,000
We're giving ourselves the warriors, the goddess, the narrating prophetess, the liquidator agitators,

99
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the originators, the dispensors, the creators, the builders, the donors,

100
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all shadow cutters, singing with upside down sieves.

101
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Lady of the night, of the shadows and of the horde. Ishtar of the desire. Epona baptized by the lonely horse. Pandora without it's gun.

102
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Morrigan queen of the nightmare. Aria rood the huntress. The hurried Cicada. Damped Pandora. Tare. Generated. Punished.

103
00:36:41,000 --> 00:37:17,000
Happily desired (???) Dare the worst (???) Lady with the mule.

104
00:37:17,000 --> 00:37:27,000
In the exact floathing madness. Spans your body, marble sieve. Where tremble the vanquished smoke of your bed

105
00:37:27,000 --> 00:37:57,000
and return to Saint Island. Ishtar... Alieno...

106
00:40:25,000 --> 00:40:36,000
Childhood, first and foremost the birth. I was born in one of the worst moments of this century, I think, when the devil reign on Earth.

107
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In a fortress, in Poland, Wrocław, and this birth bother me and concern me very much.

108
00:40:42,000 --> 00:40:49,000
And I call it the birth of Ridis because I'm working on this birth, like all that's my body and my being.

109
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Because I feel like I was born in the kingdom of the dead. It was the Third Reich.

110
00:40:55,000 --> 00:41:06,000
And I was born by caesarean, that also makes me work and think alot because I never knew my mother like we could know your mother today.

111
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She was in a coma, she was under anesthesia, she wasn't there, she could neither see me, nor caress me, nor dress me, nor feed me. And I had to wait a really long time to see her waking up from her sickness.

112
00:41:19,000 --> 00:41:23,000
For a long time and from every angle, I had the impression that I was born from a sickness.

113
00:41:27,000 --> 00:41:37,000
I though alot about it, but alas, I was born from the hand of a nazi surgeon and when my mother woke up and asked "is the child alive?"

114
00:41:37,000 --> 00:41:47,000
"But of course she's alive, that little princess of the Third Reich!" And then she started to cry appallingly.

115
00:42:17,000 --> 00:42:21,000
And my mother was part of the resistance, they called her "the Angel of Lublin"

116
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What we were living at Lublin, then Kraków, then Warsaw, and constantly hiding from people. So I've seen people than my people were killing.

117
00:42:30,000 --> 00:42:38,000
After that, I thankfully had a great attraction to those people and a guilt complex for all my generation.

118
00:42:38,000 --> 00:42:44,000
There is a really great culpability. Mine will disappear along with my physical disappearance.

119
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I could never heal from it, there is absolutely no remedy for this.

120
00:43:11,000 --> 00:43:19,000
Then we fled Poland, we arrived Germany, and there we suffered a great deal.

121
00:43:19,000 --> 00:43:24,000
There I've met hunger, genuine hunger and true misery

122
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the real poverty. I think that today we often talk about hunger, but we don't know what it is

123
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to live only out of potato peel and to be a kid. Yes that's about it.

124
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The ruins, the dust, the misery.

125
00:43:55,000 --> 00:44:02,000
I had to work really young, as a child, I was already delivering newspaper and the german's newspaper was really important.

126
00:44:02,000 --> 00:44:06,000
That is to say it was hard work to carry those weight.

127
00:44:06,000 --> 00:44:15,000
And then I was a errand girl, for a store at the port and I brought mattress and duvet to clean and brought them back.

128
00:44:15,000 --> 00:44:23,000
And then I was an usherette at the cinema and we needed that money because my mother studied medecine.

129
00:44:23,000 --> 00:44:35,000
And she couldn't finish, she was really sick, my father had left us, we had no money and I had to work and I was the eldest. I was replacing my father, so I proceeded to work those different jobs.

130
00:44:35,000 --> 00:44:42,000
On the matter of my education, it didn't came up, that was out of the question, how to find the money? Impossible.

131
00:45:10,000 --> 00:45:21,000
The word "self-taught". Already, we imagine it's a person that teach itself everything. But it's never without the help of someone

132
00:45:21,000 --> 00:45:29,000
and without the rescue of someone. So, at first my mother was my master, that's for sure. She opened me all the doors to all those culture

133
00:45:29,000 --> 00:45:45,000
And, that's a world so much more vast than university school, finally. Vaster, deeper and lonelier. That is to say that I wandered at any sight. We must not forget, this passed through a lot of countries and languages.

134
00:45:45,000 --> 00:45:56,000
I self-taugh myself some things by reading I think. By reading and looking. By traveling and by never neglecting any museum.

135
00:45:56,000 --> 00:46:00,000
But I was alone with my though I wasn't guided by anyone.

136
00:46:00,000 --> 00:46:08,000
I think that I studied along but perhaps I'm not really self-taught. I also had master, only I never knew them physically.

137
00:46:08,000 --> 00:46:17,000
And we always find that same problem, the physical absence, through all my life, I was always denied a body, that's why I'm painting bodies now.

138
00:46:25,000 --> 00:46:30,000
So I left Germany, I only had seventeen years, I came to Paris.

139
00:46:30,000 --> 00:46:39,000
Where I had a really miserable life, then I went to Spain, where life was also miserable, then I came back, then I was in Africa.

140
00:46:39,000 --> 00:46:51,000
And after a brief moment I moved to Paris, a while understanding that here I couldn't do much. And that where I tried many jobs. I worked for Interpol as a librarian, I was mannequin at Home Garo.

141
00:46:51,000 --> 00:46:57,000
I don't know, I must've tried everything worth doing in that state.

142
00:47:15,000 --> 00:47:23,000
At Paris, I started my wax paintings over a bathtub, I was paiting I was making such a mess.

143
00:47:23,000 --> 00:47:37,000
I found the people really kind, they borrowed me a working space and I  painted there. I what I wanted was to flee the city, go to the countryside and essentially rebuilding houses.

144
00:49:16,000 --> 00:49:28,000
I live on a high land, on a mountain of some sort, a tray, but my story with nature has become really strange, there's so much nature that I almost never go out.

145
00:49:28,000 --> 00:49:30,000
Finally, I'm very much cloistered.

146
00:49:30,000 --> 00:49:32,000
There's so much nature.

147
00:49:32,000 --> 00:49:41,000
And when I get out, I bless her she's marvelous, she's helping me feel good. Perhaps I don't really like the nature and the earth very much, I don't know...

148
00:49:41,000 --> 00:49:56,000
Perhaps I'm living like this because... in the city and with the others, they'd... break my strengh, while on the land here it's huge, it can act for the others.

149
00:49:56,000 --> 00:50:01,000
I think that I'd be nothing in a city and that I'm everything right here.

150
00:50:30,000 --> 00:50:41,000
But the high tray, it's Saint-Rémi, it's Le Gare, it's the midday land and there there's other things. Because that's an aesthetic attraction.

151
00:50:41,000 --> 00:50:52,000
And that actually comes from our german intellectual training, wheter we are cultivate or not, self-taugh or not, we are nurished with Hellenism.

152
00:50:52,000 --> 00:51:05,000
And we're looking for this, we're looking for that world where we can watch a hill and say "here comes the goddess and the gods!" We're searching the source, we're searching the sky, we're searching the myth.

153
00:51:05,000 --> 00:51:17,000
Our people are really passionate about mythology. And when I saw those air, I understood that's what I wanted, and not those great german forest,

154
00:51:17,000 --> 00:51:24,000
with their ghost and their dead, I wanted some kind of creating solitude,

155
00:51:24,000 --> 00:51:31,000
very clear, Hellenistic and open on the sea and really really high.

156
00:54:04,000 --> 00:54:13,000
I had a desire and a project of a great tribe of women and amazons. So I painted them as I think they'd be

157
00:54:13,000 --> 00:54:22,000
and for all this time I had the impression of painting and writing those characters like it was them that wanted me to do it

158
00:54:22,000 --> 00:54:27,000
and that I was only the instrument. Where did those figure came from? I cannot say.

159
00:54:27,000 --> 00:54:38,000
But certainly there is a link, between those characters and me, on milleniums and continents, and that's truly real.

160
00:55:04,000 --> 00:55:16,000
In history, there was people just like me, so I dedicated all my life, to wake them up, I'll wake them to the story of now and this story only

161
00:55:16,000 --> 00:55:32,000
and I painted all those characters, yes, amazons, demons, great ogres, terrible characters, but terribly good, terribly strong, there was nothing small, nothing shabby, nothing classically feminine, although feminine in the antic sense.

162
00:55:32,000 --> 00:55:46,000
I also painted a lot of those figures that live with me, those articulated dolls, those possessed figures and right now I'm doing some work I'm calling Neo-Hellenistic, but it's calm, it's really quiet

163
00:55:46,000 --> 00:55:54,000
So I'm doing a painting, where I come close to what I perhaps love the most in the world, phylosophy, not the one that's dry in the book, the one that's lived.

164
00:55:54,000 --> 00:56:01,000
And every characters, is a thinking character. That is to say I paint thinking ladies

165
00:56:01,000 --> 00:56:03,000
and they're greek, yes.

166
00:57:22,000 --> 00:57:53,000
(mostly made up words)...Harpy, the flow of the virgin and the whore... precious and ogre... going to the black sugar by squeaky steps... drinking the ash saturated water, between salted black water, where suddenly roses goes through the roof.

167
00:58:15,000 --> 00:58:23,000
There are really made like fresco, that's a cardboard that's coated with plaster and stucco, like we did some time ago.

168
00:58:23,000 --> 00:58:38,000
With a tempera way, that is wet, then there's poster paint, then I do some terrible cooking, with soap and wax and all this gives the impression that they're not from this time, but that they're from 4000 years ago.

169
00:58:40,000 --> 00:58:55,000
I have the impression that I'm doing the portrait, not the one of the great person that I admire and that I know of, but really of all those women that we don't know, because we destroyed their trace and I'm working to recreate the portraits that others destroyed.

170
00:59:49,000 --> 01:00:04,000
I use pigments, that's the base of every painting and in the old days, in Egyptian technics, hmm, called encaustic, for funeral paint, we mixed it with wax, in fact.

171
01:00:04,000 --> 01:00:20,000
But I introduced, I rediscovered without even knowing it, but I introduced a lot of objects in this bulk, that the Egyptians weren't doing. Then, after the Egyptians, we used to same pigments as always and we added egg yolks and oil.

172
01:00:20,000 --> 01:00:39,000
But not me, I never do that, I always use wax and grease finally. And I always said this is the original grease where we come from, it's an animal grease and that make some kind of dough, together with grease and earth we make the body.

173
01:02:00,000 --> 01:02:22,000
At the time my workshop looked like a dump for old clothes and tissues and also a public dumpster, a trashcan. That was terrifying enough, they were many insects and rats and everything possible but there was wasted and even rat shit could be part of the painting.

174
01:02:22,000 --> 01:02:34,000
And so I took a huge canvas, I set it up, I cooked and boil paraffins, that's derivated from petroleum, I think.

175
01:02:34,000 --> 01:02:54,000
And,and, it made black smoke, it created an atmosphere where I could barely see and I saw at best the shape of my painting, nothing more. On the ground, on my knees, almost laying on my canvas and inside, inside that canvas and that body I painted alot with my hand, I burned my hands

176
01:02:54,000 --> 01:03:06,000
and at this time I was an early bird, although normally I hated waking up early, but now there was all of my people. There was all those figures, I would wake up and tell them "hi", their eyes were mirrors.

177
01:03:06,000 --> 01:03:13,000
And so I would see myself and the world in their eyes. It's truly an act of love and an art of love that I was doing.

178
01:03:37,000 --> 01:03:50,000
It was a ritual, I think, a birth ritual, apart from the blood and biological body like we know it, but really strong in it's body, in it's materiality and it's matrix

179
01:03:50,000 --> 01:04:04,500
and in fact I adorn them of all I could find in the nature, like at the seashore, small plates debris, bricks, tiles, rusty nails and bird's feather and dried flowers.

180
01:04:04,500 --> 01:04:15,000
Additionally, the differences between those paintings and normal painting is that we can caress them, and the sense of smell get satisfied, wax smell very good.

181
01:04:15,000 --> 01:04:23,000
I heard it's a really curious painting, we can't really say it's a painting, perhaps they're low relief.

182
01:05:13,000 --> 01:05:29,550
We categorized me as an art brut painter, that must've came from Dubuffet, he was the creator of this movement, let say, well he at least made the discovery, he was a theoretician and I had for a time a correspondence with him.

183
01:05:29,550 --> 01:05:38,000
But I don't think he really considered me as an "art brut" I am at the limit of this, I'm at the fringe somewhere.

184
01:05:38,000 --> 01:05:45,000
There's part of my work we could call art brut, because what I'm doing isn't academical.

185
01:05:51,000 --> 01:06:05,000
"it's an unscathed art of all culture" definition that Dubuffet has made in his theory. That's what he said. But I do not share his position because for me culture is love, it's always where you love that you're cultivated

186
01:06:05,000 --> 01:06:20,000
and I think that those persons that he said about "they are unscathed of all culture" he wasn't right because they weren't unscathed of love, they loved what they were doing, they didn't learn at school how to paint, there really solitary person and like you know it

187
01:06:20,000 --> 01:06:25,000
shut in insane asylum, essentially, that's where it all began.

188
01:06:25,000 --> 01:06:37,000
I'm in the annex of the museum of art brut, I'm part of those singular peoples, singular in an artistic way and that's also a curious thing because which artist isn't singular?

189
01:08:56,000 --> 01:09:07,000
It's also part of my job and essentially I collect women art, what they could do in those previous century, while they were shut in.

190
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They generally didn't had access to art. Those sign of their lives, what they did, that touched me, I'm passionated about it, it wasn't anything rational but I was attracted like a child by those things. Humm.

191
01:09:21,000 --> 01:09:37,000
The first factor for me, and now we come back to this idea of creating a tribe and to populate a space and to do a staging, like we do on a painting, a staging of a tribe in a house and my house is like a cloister

192
01:09:37,000 --> 01:09:42,000
that's populated by possessed figures and articulated dolls.

193
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And so those kind of being I got them home, they're in the room, they're there and curiously those characters are people, they help me in my solitude.

194
01:13:02,000 --> 01:13:19,000
These dolls come from Provence Spain, Italy, they come from this huge Mediterranean kingdom, for me Provence is a kingdom and it's a province where the women are really strong.

195
01:15:05,000 --> 01:15:18,000
I lived 21 years on a elevated tray, without electricity and without the comfort that come with it. It was a life of the 18th century.

196
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The level was a house in ruin, that didn't had anything, not a door, not a window, not a floor, not a ceiling, absolutely nothing. And in this house, 22 years ago, along with my ex-girlfriend, we started creating a habitable universe.

197
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It was a physically hard work, I was project manager in this building and what I was making, after selling the rest, I used it for this house, to do something marvelous like a cloister or a little castle.

198
01:15:52,000 --> 01:16:00,000
And I made something out of it. I sometime ask myself, haven't I created a huge doll house?

199
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A theater, where there's a play room in each quiet room where nobody's living, what kind of play room? I don't know. But there's characters that are playing roles and I think that the objects are communicating.

200
01:16:13,000 --> 01:16:29,000
I have this curious feeling that time that happen there is different than mine, but I'm sure there's a permanent play, a mute one perhaps.

201
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The initials rotting almond. The Caucasian knight. The first mother. The bee queen.

202
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(Bunch of made up words)...  My glory prevail... The philosophical doubt... Pandora without it's gun... I drawn your tongue like a bow... Mouth shut... The price of the face... Solstice at Babylon... The five fireflies...

203
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...The Angels... The magician student... The Angel of darkness lesson... The blue amazon... The lute player... Artemis in the weaving of the fresco... To know as you go, send the constancy.

204
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I'm an nocturnal being, I can't say night owl because I don't saunters. But I'm waking, I'm a vigil, a night watch, like if I had to protect something.

205
01:24:27,000 --> 01:24:37,000
And I think that I'm the keeper of something, up there, a location, in this huge solitude, and I fall asleep when others wake up, I know they're leaving for work and I can sleep alone.

206
01:24:37,000 --> 01:24:50,000
And in the night I'm evidently, way better off with all those characters who inhabit me, who are absent, but I'll give them life. I need a silence, I also need the dark.

207
01:24:50,000 --> 01:25:10,000
I'd like to live by night all the time. There's way more painter that work at night that we'd think. And I think the story of the north light is a myth. It's not true at all, I do colorful magnificent thing at night. And with barely anything, candles, bad gas lamp.

208
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I live at night behind the moon in a world of good and lovely specter that accompanied me and I see so many things at night

209
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that it's pleasant to rest my eye with human beings in their reality when I see them, I love watching people a lot.

210
01:25:34,000 --> 01:25:50,500
They give me a rest from all those vision, because everywhere there's bodies, everywhere there's faces and heads and I'm actually some kind of majestic slave. But I must obey the will of someone who wants me to paint and write, all according to plans.

211
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I live behind the moon.

212
01:27:17,000 --> 01:27:30,000
An army of women, wearing red iron boots, slowly painting a sign of enemy colors with their luminous bodies.