I came to painting through sculpture, to images through objects. I think that images sit in the middle, somewhere between objects and words.
In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.
It's a stage with four lights clamped to it with walls made out of plywood. And then my name's in the center. It's the type of thing that can be made over and over again. It's not like a Michelangelo sculpture.
I think I love and reverence all arts equally, only putting my own just above the others; because in it I recognize the union and culmination of my own. To me it seems as if when God conceived the world, that was Poetry; He formed it, and that was Sculpture; He colored it, and that was Painting; He peopled it with living beings, and that was the grand, divine, eternal Drama.
The science of design, or of line-drawing, if you like to use this term, is the source and very essence of painting, sculpture, architecture... Sometimes... it seems to me that... all the works of the human brain and hand are either design itself or a branch of that art.
You don't really see a muscle as a part of you, in a way. You see it as a thing. You look at it as a thing and you say well this thing has to be built a little longer, the bicep has to be longer; or the tricep has to be thicker here in the elbow area. And you look at it and it doesn't even seem to belong to you. Like a sculpture. Then after looking at it a sculptor goes in with his thing and works a little bit, and you do maybe then some extra forced reps to get this lower part out. You form it. Just like a sculpture.
Man is certainly not creative, but his creativity should not be concerned with God. His creativity should be concerned with making a better world, a better society, better literature, better poetry, better paintings, better sculpture, better human beings.
That the Hindus, absorbed in the ideal, lacked in realistic observation is evident from this. Take painting and sculpture. What do you see in the Hindu paintings? All sorts of grotesque and unnatural figures. What do you see in a Hindu temple? A Chaturbhanga Narayana or some such thing. But take into consideration any Italian picture or Grecian statue-what a study of nature you find in them! A gentleman for twenty years sat burning a candle in his hand, in order to paint a lady carrying a candle in her hand.
My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings. All my works in pastels are the products of obsessional neurosis and are therefore inextricably connected to my disease. I create pieces even when I don’t see hallucinations, though.
Man is really not freeing many aspects. He is dependent on his social circumstances, but he is free in his thinking, and here is the point of origin of sculpture. For me the formation of the thought is already sculpture. The thought is sculpture.
There could be a powerful international women's rights movement if only philanthropists would donate as much to real women as to paintings and sculptures of women.
The thought of continually eating something like macaroni, spat out by machinery, fills me with fear and revulsion, so I make macaroni sculptures. I make them and make them and then keep on making them, until I bury myself in the process. I call this 'obliteration.'
Modern language must be older than the cave paintings and cave engravings and cave sculptures and dance steps in the soft clay in the caves in Western Europe, in the Aurignacian Period some 35,000 years ago, or earlier. I can't believe they did all those things and didn't also have a modern language.
I hope, too, that my book will illuminate my belief that love of art - be it poetry, storytelling, painting, sculpture, or music - enables people to transcend any barrier man has yet devised.
Writing nonfiction is more like sculpture, a matter of shaping the research into the finished thing.
I always want to do music that inspires or influences another generation. You want what you create to live, be it sculpture or painting or music. Like Michelangelo, he said, “I know the creator will go, but his work survives. That is why to escape death, I attempt to bind my soul to my work.
I really do think of them as post-minimalist sculptures, inspired in large part by some very early spacecraft that NASA built.
My sculpture is very personal; for years my subjects were family and close, close friends.
Somebody informed me recently that the key to every art, from writing to gardening to sculpture, is creativity. I beg to differ.
Take a relief. You draw it, you carve it out. Later you build it up from a flat surface. There is no other way to do a sculpture - you either add or you subtract.
I really became convinced I wanted to tell the story of the real-life model for the Degas sculpture 'Little Dancer Aged 14,' which was unveiled in 1881, the Belle Epoque.
Sometimes people damage paintings or sculpture because they love it. They throw their arms around a statue in a fit of hysterical passion and it falls over.
Within my heart is carved a sculpture of your love.
In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.
I went to a school in N.Y. that is conceptual and interdisciplinary and modeled after Cal Arts. It is not just painting or sculpture; it was everything mixed together.
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