Making a painting is like playing the saxophone. You hit the note and it comes out.
Some people might think that the paintings are involved with a mythic - not just subject matter - but a certain sort of physical space that the paintings occupy...like personages.
I think not knowing what to think of your paintings is a good place to be.
Sometimes I'll dream that I saw a show and then I'll wake up in the morning and realize that I didn't see the show, that it was my dream. And I just remember what the paintings look like in the dream and I think, "Oh, nobody painted those. I can do that."
I like when people get really close to the paintings, when they can't really get away from them, I like them to operate in that way on the viewer.
There's been too much attention on marketing. Can't we just talk about the paintings?
Sometimes my kids might tell me they had a dream or and maybe I'll paint some paintings from their dream. That's one good thing you get from your kids. Rob them of their dreams.
I want the paintings to take me or the viewer out somewhere else.
A lot of what I do is about being in the moment and I think that's hard for people to get. I like it when things suddenly affect the painting. I mix up this red and it affects the whole painting or this little bit of white falls down there, and something changes the whole nature of the thing. The residue on what happens, that's what's in the paintings.
There are generations of people who have never seen a big plate painting in person. And they don't know what the hell they look like, they don't know what it feels like to stand in a room with them.
I don't think the meaning in my paintings comes from just using broken dishes.
My early paintings weren't that good - I was very influenced by Francis Bacon. But there was a kind of intensity there. And however influenced they may have been by other people, even my earliest paintings were recognisably my own.
Paintings are not like the Internet. They're not like movies. They're not electronic-friendly. You have to go see them. You have to stand in front of them. That's the great thing about them.
I don't think my paintings are self-conscious but you feel the consciousness of them. Without them being self-conscious.
If I hung one of my paintings next to someone else's, I knew mine would kind of pop off the wall.
Painting is like breathing to me. It’s what I do all the time. Every day I make art, whether it is painting, writing or making a movie.
There were some types of sanctions that happen in the public world that made my work acceptable, where someone looks at the paintings and they don't - they may go, "okay," and then look at it in a different sort of way. Instead of just looking at it as some type of wild art, they look at it in a historical perspective or context.
I've never made a movie to make money. I've never made a painting to make money.
I wanted to show painting paintings first, then the plate paintings; now I can show that I've sort of freed myself from stylistic inhibitions.
I think the nice thing about showing work in New York is that other artists come to see it. When you show work in Switzerland or somewhere else, everywhere else seems to be the provinces in a certain way. You wonder what your paintings are doing on the walls and you wonder who's looking at them.
I see paintings everywhere. I look at stuff and it looks like painting to me.
I have a completely romantic idea about making paintings, I guess.
I was always very... impatient about showing my paintings to people.
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