Chantal Joffe Quotes
When you're looking through a magazine, what makes you stop and think is when you see an image and imagine the narrative that is going on inside of it. Those are the ones I make into paintings.
Quotes to Explore
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Yesterday, I did some painting then went out to buy an onion and came home and watched 'University Challenge.' The onion was probably the highlight.
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Through a painting we can see the whole world.
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Most people don't really like to pose. It is difficult to get them to be present and relaxed under this kind of molecular scrutiny. I want them to understand I'm not simply painting them: I am painting them within a precise moment in time, as a shadow moves across their eyebrows. Then it is gone. The moment is over.
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I can't imagine working without and audience.
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I wrote as a kid, but I never wanted to be a writer, particularly. I had been drawing and painting for years and loved that.
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I was always interested in the arts as a child - drawing, painting, and piano - but acting became a favourite. I was a major theatre geek in high school - if I wasn't in the drama room at lunch rehearsing, I'd be in the art room finishing up some type of project.
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Sculpture is the best comment that a painter can make on painting.
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The hardest part of doing anything creatively is just getting up and doing. Once I get out of bed and get into my art room, I start painting. I'm there. And I'm doing it.
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A large vocabulary is like an artist having a big palette of colors. We don't have to use all the colors in a single painting, but it helps to be able to find just the right shade when we need it.
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It happens that all those who have something of mine, painting, mobile, or static statue, say that it makes them very happy. For example, children adore mobile statues and understand their meaning immediately. I have seen children, here in France, in America or in Great Britain, run and shout with joy in my exhibitions. They like it instinctively.
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The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural... Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.
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My secret pleasure is painting these little mini figures that you send into battle - they're called Warhammer figures. It's the nerdiest thing in the world, but it's a lot of fun. It's relaxing; that's the main reason I do it.
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My work since the late '80s specifically questioned what was presented as the 'natural' order of things in the history of post-war-N.Y. painting.
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So much of the history of painting is the propaganda of self-aggrandizement.
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I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.
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I needed an outlet in high school and came across painting. I've actually been painting longer than I've been acting. A movie is a collaborative effort, and with painting you just have yourself.
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How do you make something the same but different? That's the question I had to deal with in my approach to the cover painting for 'Percy Jackson's Greek Heroes.' I wanted it to have many similarities to 'Percy Jackson's Greek Gods,' but I knew they couldn't be too similar.
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Like the postcard collages, the colors are shapes in a landscape. In this case his collage 'Napoleon at Würtsburg' it is a painting of a landscape, not a photo as in the postcards collages, and therefore a contrast of the traditional painting and a presentation of literal space on top of depicted space.
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Action painting has to do with self-creation or self-definition or self-transcendence; but this dissociates it from self-expression, which assumes the acceptance of the ego as it is, with its wound and its magic.
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The hacker mindset doesn't actually see what happens on the other side, to the victim.
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The most important responsibility we have as journalists is to question those who are in power. I honestly believe that.
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These books ain't window dressing. I think Machiavelli's the most sophisticated writer outside of Shakespeare. Way ahead of his time. Such a manipulative person. Everything he accomplished he did by kissin' ass.
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It's exciting to me that Ride Along is a movie that has two African American leads, but it's even more exciting to me that it's not a movie about two African American leads. They just happen to be African American. It's a universal story. It's a story about a guy in love with a girl, and he's gotta get the approval of the overbearing, mean brother. That's a universal theme.
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When you're looking through a magazine, what makes you stop and think is when you see an image and imagine the narrative that is going on inside of it. Those are the ones I make into paintings.
