You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.
Painting is the frozen evidence of a performance.
Painting is a lie. It's the most magic of all media, the most transcendent. It makes space where there is no space.
I build a painting by putting little marks together-some look like hot dogs, some like doughnuts.
When you come up in the art world, whatevers in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.
Any innovation that is evident in my paintings is a direct result of something that happened in the course of making a print.
All the fingerprint paintings are done without a grid.
I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.
Paintings can make you cry and it's just **colored dirt**.
I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.
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