It's funny, when things go on the internet now and people say 'that's not real,' well, that's what painting's always done - it's taken things from the world and said, Look how much more real this is now.
All my big heroes are literary, writers. I'd love to meet Jimmy Hendrix or John Coltrane, but I'd much rather meet Thomas Wolfe, or F. Scott Fitzgerald. Words and books have always meant a lot to me. That someone can take words and string them together to where they will move me is just a hell of a thing. It's amazing to me; more amazing to me than music or painting. It's always been the written word or the spoken word, like a great lecture or a great lyric, or a great poem. To me it's just amazing. And I always aspire toward capturing that, or my version of it.
If a film is good, and I'm sort of able to sit there and absorb myself within that world. And get lost. That is a pretty powerful tool. And there's not many paintings out there, that make me want to stare at it for hours at a time, and wonder where I am!
A topic is not interesting enough until it is multi layered. There is no vigor in a motive without many layers. One also learns quite a lot when one has been working on a difficult painting. That is my feeling. I believe that.
What does a painter do? You get a painting, you put some intent and passion and emotion into these things, and hope the people will receive it. Same as a playwright. It's art.
One of the interesting things I discovered is that in the late 19th century, painters actually had black-and-white copies made of their own paintings. They chose it even over photographs because they knew the photographic medium would distort their work.
Modern abstract art starts in Russia in about 1915 with Malevich, and then the Russian Revolution happens, and eventually all that experimental art gets squashed and social realism comes back into play. All of a sudden, Malevich is no longer painting black squares; he's painting peasants in colorful schmattas.
I do have great respect for painting, but I am definitely not a painter. I make drawings of paintings, and I'm jealous of painting for sure, but, for me, the paper gives my work a limit.
Painting as it is now promises to become more subtle - more like music and less like sculpture - and above all it promises color. If only it keeps this promise.
I'm not a political artist in any way, but if an idea takes me somewhere or something is emotionally impactful, I find a way to make a painting that encapsulates it.
Sometimes I think I shouldn't explain much about my work because people will just feel what they feel when they see it. They'll love it or hate it or enjoy it on their own, like how I've looked at abstract paintings of other artists and cried or felt happy because I've felt, "Wow, I've lived that, I've understood that."
I come alive when I'm painting. I like to work in oils and acrylics, and the full sensory engagement and self-expression is very stimulating to me.
I tried to find a language for the film - not just telling stories. I picked the Picasso painting because it said more than I could explain. I need images, I need representation which deals in other means than reality. We have to use reality but get out of it. That's what I try to do all the time.
I had gone to Paris to immerse myself in painting and I came back wholly involved in words and rhythms.
I like movies! No, I like theater too. And paintings are great, and all of that! But to me, the great sort of artistic medium I think, of our time, is film. I really feel that. I mean to me, there's nothing else out there, where I can sort of suspend disbelief for two hours.
I would always be painting and drawing. If I was stuck at home, I was in the basement working on a painting.
As you work on something, whether it's a painting or a piece of music, it's going to evolve. A relationship is like that too.
I can't do the movies like I do painting because I am really more of a sort of dilettante or something. I mean I know guys that make movies that I can see it is absolutely their medium and they can just go from one movie right into the next because it is just - they have got it so much on the tips of their fingers. But for me it is a special effort.
The world somehow is always the same. The only thing that can improve is the individual life. One can live a good life. One can give life a meaning. Either by drinking oneself to death or by painting oneself to death or by loving oneself to death.
One teacher told me that my work belonged in the trash. That day I ran out of the classroom and ended up in the library, where there happened to be a black and white photography exhibition of Robert Rauschenberg's photographs of the streets of New York. The subject of his photos were exactly what I was painting about.
I never want to abandon my roots. I want to give my past and the history of painting the importance it deserves, including the masters like Rembrandt, who built up the surface of the canvas with transparent layers.
My first sense of myself was as an artist, a painter. I would see a Van Gogh painting and just love it, the more emotional and passionate the more it attracted me.
This is the essential distinction--even opposition--between the painting and the film: the painting is composed subjectively, thefilm objectively. However highly we rate the function of the scenario writer--in actual practice it is rated very low--we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.
"Good" people are those who don't hold in the thoughts, but find proper outlets like writing, painting, music, etc.
I came to painting through sculpture, to images through objects. I think that images sit in the middle, somewhere between objects and words.
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