Painting Quotes
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My painting carries with it the message of pain.
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As a teenager I started painting and playing guitar.
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Although I studied, I have never been taught painting because I possess in my psychological makeup a peculiarity that resents any outside interference.
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As a kid, there was a painting of 'Appeal to the Great Spirit' that I would see when I would get oatmeal bowls out of the cupboard. This painting, it was so real to me that it frightened me.
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Painting is first of all the art of imitation, and not the servant of some imaginary 'purity'
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I liked drawing and painting, because the only failure would be to listen to the doubters who wanted me to stop drawing and painting because 'you aren't going to make a living doing that.' I liked looking in art books at the work of painters.
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By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.
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I decided one day to put on my tutu and jump on the coffee table and sing Aretha Franklin songs for the painters that were painting the house.
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There is something that always will be true about painting and sculpture - that in order to really get it, you have to show up. That is something that is both sad and kind of beautiful about it. It remains analog. It remains special and irreducible.
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Certainly one of the surprising truths of having a book published is realizing that your book is as open to interpretation as an abstract painting. People bring their own beliefs and attitudes to your work, which is thrilling and surprising at the same time.
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You care enough, that you want your life to be fulfilled in a living way, not in a painting way, not in a writing way... you really do want it to be involving in living, corresponding with other living objects, moving, changing, that kind of thing.
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You can't sweeten the well by painting the pump.
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Painting it was hard graft. There are one and a half large tubes of white in the ground - yet that ground is very dark.
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Sculpture is the best comment that a painter can make on painting.
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Well, I don't think anyone now would say that they're painting the state of the culture of America. I think that's too grand and pompous a thing for anybody to claim.
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The animation of the canvas is one of the hardest problems of painting.
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Around 1980, I went back to painting with a vengeance.
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An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.
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I'm never interested in the painting being a mirror to culture. I think that's really boring. What I'm interested in is painting as an affective space. The place where the hierarchies of the world can be rearranged within the space of a painting. And they can be articulated in different ways.
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I wrote 'My Name is Red' just to remember painting, where the hand does it before the intellect. When I'm captive to it, I'm a happier person. Kierkegaard tells us that a happy person is someone who lives in the present; the unhappy person, someone who lives either in the past or the future.
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There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.
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If I'm painting, I paint every day. I'll be up in the studio from 8:00 in the morning to 8:00 at night.
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Painting and sculpture, labour and good faith, have been my ruin and I continually go from bad to worse. Better it would have been for me if I had set myself to making matches in my youth. I should not be in such distress of mind.
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I'm like a gypsy. I've got a place in Beijing, a place in New York, a place in west Africa; I'm working on a place in Colombia. I like the fact that painting is portable - and I've wanted my entire life to be able to see the world, to respond to it, and make that my life's work.