Two Decades In, C. Finley Talks ‘While You Were Fucking Off’ and Other Paintings

I have known the artist-curator C. Finley since 2017—we met through Liz Collins and became immediate friends. An inspiration, she is perhaps most known for founding the ambitious Every Women Biennial—formerly the Whitney Houston Biennial—which between 2014 and 2021 showed over 1,200 female-identifying and non-binary artists in New York, Los Angeles, and London. Her group show Carry a Torch, which includes my work, is on view at La MaMa Galleria until January 18, 2025, and newly opened AMR Dumbo launch with Since Forever, a retrospective of Finley’s painting practice from 2000-2024 which closes on December 31. Her paintings are a tongue-in-cheek and campy commentary on life using pop cultural references. As usual with Finley, she has a lot going on—and, I was excited to interview her about her work as an artist and a curator, always giving back to the artistic community.

What was it like planning a retrospective of your work?

This is not a retrospective, but a beautiful and particular snapshot of my work over my two-decade painting career. It’s a unique and gratifying experience to see your work through curators’ and writers’ perspectives, combining the artist’s vision with what others connect to within the work. The twelve pieces in the show, thoughtfully chosen and curated by Annabelle Rinehart, illustrate her in-depth knowledge of my work and her integral role in my life and community for many years. She gravitated to the figure and brought together a selection that traces a trajectory and a dialogue from early 2000 to my latest work created on-site in her gallery last month.

This is the first exhibition at AMR Art Dumbo, and what a fantastic show to begin with! How did you become involved with this new Brooklyn space?

Annabelle and I have been friends for more than two decades. When we met in 2000, she was an art history major and I dreamt she would be my gallerist. For well over a year, we’ve been thoughtfully analyzing and discussing what’s needed in the art world at this time. She has been a champion of artists through philanthropy and collecting, and now in launching AMR, she is fully supporting artists with exhibitions like mine, interesting talks, curating artists shows at institutions, and bringing together collectors with artists. She also extended her creative services to funding the queer zombie comedy film, Queens of the Dead, by Tina Romero. We need these new operating models. I am thrilled to be a part of it.

I loved walking around Since Forever. While your works range wide in years from 2000 to 2024, one consistent element is the embracing of sexuality and religion. What do you find about this combination of subjects that is so appealing to go back to in your work?

Living in Rome for so many years, I saw Bernini’s marble Ecstasy of Saint Teresa, created in 1647. It was one of many sensual artworks that enthralled me. Bernini creates Teresa in a state of rapture, reclining in a flowing robe, eyes shut, one hand touching her breast, mouth agape in a last rapture of surrender and submission of body and soul, as she’s being pierced by the divine. I’ve created various works based on this image.

I’m also drawn to the ideals of religious symbolism in a range of world religions that lift us more than divide us through light, love, and divine beauty. I appropriate symbolism from Buddhism, Hinduism, Judaism, Christianity, and Sufism, as well as ancient Greek, Roman, and Egyptian mythologies, bringing them into my work in unexpected ways, sometimes front and center and sometimes as background in layered quilting patterns or ornamentation. And, of course, I’m always honoring and bringing forth the great creator in all of us.

One of the works on view in your show One Bed is a literal painted bed, I just wanted to lie down in it! But I resisted. What were some unexpected challenges you experienced while creating this usable work of art?

Oh, you should have! The bed was Annabelle’s brilliant idea. I’m always up for a challenge – from early street interactions and wallpapering dumpsters to creating massive 17-story murals. My challenge with the bed was time! I had just a few days to paint the bed in the gallery while Annabelle was hanging the exhibition. I’m so happy to have created this sculptural work that provides the ideal place for repose and contemplation of sensual art. I hope whoever buys it will have sexy dreams, and bring fantasies to life in it!

I really enjoyed seeing your work that features a young Drew Barrymore, I have never seen that work before and I found the way she was drawn in pencil enticing. Can you tell me more about this work?

I have been making While You Were Fucking Off paintings since 2001. My grandparents were printmakers in California and they made that change to the ‘While You Were Out’ notepad and printed them for fun. Everyone in the print shop had them on their desks. As a kid, I thought it was awesome that it had a curse word and I doodled on the notepads while waiting for family gatherings. I chose Drew Barrymore from Playboy magazine because I wanted to make a painting that referenced 1975, Barrymore’s, and my birth year. We are both celebrating our 50th year next year! I love her pixie cut and cute crooked smile. I treat the canvases just like a notepad, and I often write song lyrics or poems and add sexy drawings.

I was so excited when you reached out to me earlier this month about having one of my own works shown alongside yours in the group exhibition, Carry a Torch now on view at La MaMa Galleria. Can you tell me more about this show and what drew you to be a part of it?

Post U.S. election we all need more care, joy, love—and togetherness. Organizing this show, in breakneck speed, was my response to that. La MaMa Galleria gave us access to the space and I immediately reached out to my New York-based community of artists, several of whom I curated in previous solo shows at La MaMa. They all showed up and we hung the work in one day—including you Ria, making a new work even with an injured wrist! The title Carry a Torch also functions as a prompt for the artists, and what emerged were volcanoes, goddesses, torches, sacrifices, rituals, love, desire, sensuality, and red hot heat.

One of the most important lessons I have learned by being mentored by you is giving back to your artist community and uplifting fellow creatives as often as possible. Can you share more about the community you are a part of and how you continue to uplift it?

It’s wonderful to hear that! I see my painting, curating, mentoring, and teaching (especially in gorgeous places of Assisi and Rhinebeck) as cohesive aspects of my art and life. I love bringing people together in uplifting and joyous ways and providing creative opportunities that are so needed, especially for emerging and sometimes overlooked women and non-binary artists. This painting show is also about community. It’s a reflection of a sensual life created with my supportive network in the queer community and a celebration of friendship, sex, and love.

C.Finley. “Florencia and Krista,” 2022. Acrylic on canvas. 40 x 30 inches.
Image courtesy of the artist and AMR Art DUMBO, Brooklyn, NY

After having a successful solo show and helping coordinate a fantastic group show, what is next on your agenda?

I’m blissfully hunkering down to paint, paint, paint! Being nomadic and not having a proper and inspiring studio space is really challenging. I’ve just moved to Atlanta to be with my love Christine, and settled into a peaceful studio to create work. I’m preparing all new paintings and sculptures for an exhibition in Rome this spring—stay tuned.

Since Forever is on view at AMR Dumbo until December 31, 2024. Carry a Torch with work by Barrio, Tura Oliveira, Alex Chowaniec, Deborah Buck, Liz Liguori, Sarah Anderson, Nicole Washington, Ash Edes, Tora Lopez for INNER COURSE, Eddy Segal, Ashley Chew, Alexandria Deters, Dusty Childers, Harris Singer, Helen Levelle, and C. Finley, who also serves as the shows curator, is on view at La MaMa Galleria until January 18, 2025.

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