There are different kinds of concentration required to make a painting, different kinds of being present.
I think that painting relates very neatly to inner travel and the exploration of inner worlds. With painting, I always get the impression that you're sort of entering into a shared space.
You have the 20th century wrapping up and everything is moving at this breakneck speed? And then, painting is still walking. It's just a very human activity that takes time.
I can only think of a handful of artists that can make a funny painting or a funny sculpture without it feeling coined in someway.
I guess I have no motivation to make an abstract painting, even if they sometimes read as abstract. I think, with abstraction, it's easy to fall into a sort of pastiche.
I think you do kind of slip into a trance when you look at a painting. At least I do.
Maybe I don't have the same sense of humor. Maybe people aren't comfortable gauging a painting that way. They think that if it's a painting then it must be serious. I think Picasso can be hilarious, to name one example.
Technology's always changing. There was a time where oil painting was a new technology. That changed painting.
I think painting has that unique potential to project opposing viewpoints.
Painting can also be too earnest at times and that's a drag. You don't want to go in that direction either. It should be holistic. It should represent the whole of your personality, I guess, so if somebody is a sincere painter or an ironic painter, then they're just bullshitting the audience and presenting only an idealized version of themselves.
Paintings exist in the present tense, yet somehow, because of how it's structured, it can move backwards through time as well.
The thing is that the money issue looms so large in art now. And it has absolutely nothing to do with art. If you're painting goes for ten grand or a hundred grand, it doesn't make painting any easier. And it doesn't make the painting any better if it goes for a hundred grand.
Painting has this ability to send the viewer [backward], but it's also this physical object in the room with you. It's always knocking you back into the present moment, which I find very pleasurable.
When there's a painting in the room, my eye goes right to it. It's like if you go into a bar and there's a television on, you can't take your eyes off the television. Paintings have that effect on me. It's where my eye settles.
A good painting has to do about 12 things at once.
I remember looking at books when I was in high school, but I don't think I really stood in front of a genuine painting or sculpture until I was out of high school.
I've had phases where the compass point seems lost. It can happen for various reasons, among them, that you're trying to do something outside your skill set; your skills have to catch up with the things you see in your head. But it's important to make all of those paintings, even the failed ones.
There's something retro about the pop culture references in the paintings, so I'd imagine it's not as much a pop culture reference as a pop art reference.
I think that time moves slower in painting. And maybe that accounts for a lot of the anxiety around painting in the last 40 or 50 years.
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