Painting Quotes
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What life means to me is to put the content of Shelley into the form of Zola. The proletarian writer is a writer with a purpose; he thinks no more of 'art for art's sake' than a man on a sinking ship thinks of painting a beautiful picture in the cabin; he thinks of getting ashore - and then there will be time enough for art.
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When we don't have information, we go to the simplest outlook, to black and white. But then we have to lie to ourselves. Black is never as black as you're painting it and white is never as white.
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Most days, I practice piano in the mornings and I spend the rest of the day painting.
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I'm always looking at the computer. I make all of my work on the computer at some point or another. Almost all of the paintings come from a file.
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The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.
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Now painting is different. It's something recollected in tranquility.
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One does a whole painting for one peach and people think just the opposite - that particular peach is but a detail.
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As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.
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I destroy the painting as soon as I can see what it is. When I can make out something in it, I destroy it because it's no longer coming from my unconscious.
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When I'm not painting, I'm Oujia-boarding with my photos. I'll sort through my pictures, put them in different folders, and come back months later to one in particular and try to figure out why I took it.
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I did photography, painting, and drawing, but I prefer sculpture. I like it because it's very physical.
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My painting does not come from the easel.
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Everybody thinks they know what art should be. But very few of them have the sense that is necessary to experience painting, that is the sense of sight, that sees colors and forms as living reality in the picture.
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For me, my 20s were all about reaching for the brass ring of work in theater, television, and film, surviving in between by waiting tables, painting houses, serving coffee, and temping.
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This period of blue monochrome was the product of my pursuit of the indefinable in painting which that master, Eugène Delacroix Romantic French painter was able to indicate even in his day.
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One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.
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We share a huge visual memory bank, mostly through painting and other images in history. I think when a modern photograph taps into those, sometimes very subliminally, it makes people respond.
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Painting is a field that attracts a lot of lazy people. You can just sort of sit and wait for things to come to you. I know a lot of painters who'll sit and chat it up all night. But God, I just can't do that.
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In fiction, plenty do the job of conveying information, rousing suspense, painting characters, enabling them to speak. But only certain sentences breathe and shift about, like live matter in soil.
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I have just finished one painting and am already at work on the preliminary drawings for the next one. I must do something in order to get rid of such habits or I won't manage to find time for any vacation. I have had this new painting in my mind since January, and must get it down on canvas.
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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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It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
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I'm very representational some of the time, and a little all of the time. But when you're painting out of your unconscious, figures are bound to emerge.
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Let us together create the new building of the future, which will be everything in one form: architecture and sculpture and painting.
