Burton Silverman Quotes
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I am wedded to who I am.
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Artists must literally go into a zone of intense seeing so the subjective and objective almost fuse together.
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My best training came from doing illustrations because it taught me to compose my paintings more effectively, to improve my colors, and to be ruthlessly selective.
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I am stuck with my passion for the objective world, for the constantly shifting shades of meaning to the events of my life, to the states of being of the people I paint, and to the persistent need to get it right.
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The beginning of a painting is a very energized, exciting time, and it generates most of the energy I have. If I've gotten 75 per cent of it down, then it takes an effort to really get up that kind of energy to finish it in the same way it's begun.
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The self-portrait is an act of objectifying the self and in that regard is a unique form of portraiture.
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Alas, it is just a single image - an extended moment perhaps. Unlike a biography, a portrait cannot present the many differing moments that make up a personality.
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I hope that we can bridge the worlds of appearances and of insights, and thus rescue art from triviality, from 'sensation' alone.
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Very early in life, I fell in love with the landscape of the human face, where all the emotional states of life are to be found.
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In an era when museum curators were busy introducing the public to photographs of daily life taken by Robert Frank, Henri Cartier-Bresson, and Diane Arbus, why did they simultaneously disdain paintings depicting the same kind of people?
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I love the fact that there are more and more young people out there who still want to make a flat two-dimensional surface come alive with three dimensional magic.
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I continue to make paintings of people and their moments in our time because I am of that time. Out of that I hope to make pictures that are timeless.
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I love the fact that this art might somehow affect the way people see, and thus open a window on the world.
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We do not see everything in the environment in the complete, totally resolved, explicit character of the photograph. We, in fact, prioritize our seeing.