I loved surrealism and abstract painting, and anything related to those. I always thought painting was the highest form of art. What led me to drawing was seeing so much self-important, pretentious, conceptual-type art in university. I wanted to reject that by making quick, fun art.
Directing, to me, starts even before we get to the set. Directing is a fluid, an abstract thing. It's not done only purely in the moment. It's an idea that you plant before. It's a location that you show. It's something I whisper in someone's ear. It's a freeform thing. It only takes me a week to write the script, but it's years that you're thinking about it. The execution is really the fast part.
I paint like an abstract painter everything is inside nothing is meant to be, I take tattoos off a people I take anything that's not necessarily going to be timeless. I want to get across what I feel and I just use the figure because I enjoy the figure.
I know a lot of choreographers prefer to do abstract dance and not be bothered with a story, but even when I'm asked to do classical ballet or a modern piece, I still want to tell a story.
I do not see any essential difference between abstract and primitive art. Both are simple and sincere. Naturally, we should not generalize in these matters: It is the individual artist that counts.
I was struggling to figure out how to combine the abstract and the representational. Painting, I suddenly understood how that aesthetic could fit together. That was a really fun game to figure out how that worked.
There is something very pleasing about the principles of science and the rules of math, because they are so inevitable and so harmonious - in the abstract, anyway.
We can tell people abstract rules of thumb which we have derived from prior experiences, but it is very difficult for other people to learn from these. We have difficulty remembering such abstractions, but we can more easily remember a good story. Stories give life to past experience. Stories make the events in memory memorable to others and to ourselves. This is one of the reasons why people like to tell stories.
One of the problems with watching TV is that you've got a fairly low level of language operating all the time. Quite a small vocabulary and really no conceptual or abstract thinking. That's an issue. If you've got a wide vocabulary, you can learn. The complexities of grammar, in themselves, force you to think about time in a particular way. Force you to widen your outlook on the world.
Abstract expression is so solid, so successful and recognizable, but there's a mystery about the artists that goes into it, a fetishism about the artists themselves and who they were.
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.
That's what I always loved about [Federico] Fellini's films: You see the weird joy of the weird filmmaking family and the abstract craziness that goes along with it, and there's something about it that's quite beautiful.
Our ideas must agree with realities, be such realities concrete or abstract
To give the theory plenty of 'rope' and see if it hangs itself eventually is better tactics than to choke it off at the outset b abstract accusations of self-contradiction
Don't preach too much to your pupils or abound in good talk in the abstract. Lie in wait rather for the practical opportunities, be prompt to seize those as they pass, and thus at one operation get your pupils both to think, to feel, and to do.
There is a part of yourself that is not subject to change, it is the silent witness behind the scenes. That is essentially your spirit, the spirit being an abstract but real force. It is as real as gravity. It is as real as time. It is incomprehensible. It is mysterious but it is powerful and it is eternal.
I always wanted to make an abstract photograph. I would photograph walls, sports interiors, marks on the walls people made. Even looking back it makes so much sense. It's like it was a fight against the photograph.
I saw money becoming more and more important everywhere. It's one of the most abstract and important inventions by human beings. At the same time, money is capable of extraordinary corruption in every kind of relationship. I tried to see how and why, more and more, money is becoming a religion.
For me, the canvas is an abstract interpretation of a wall. It's a piece of art with its own history, one that alludes to the passage of time and to the theater of life.
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."
They are, in a sense, two sides of the same coin: women are, on the one hand, subjects of an extremely real and abject (as Julia Kristeva put it) body and denigrated sexuality; on the other, the proliferation of images, and their digitalisation produces more and more abstract and air-brushed representations of impossible female bodies. Both indicate, certainly, a "lack of progress." But, one hopes, discussions and resistance are emerging in response.
[My work] looks very cinematic because it's not abstract video art. It's sometimes very narrative and since I play with film grammar in my video work, making a feature film was almost the same challenge.
My powers of empathy, my ability to reach into another's heart, cannot penetrate the blank stares of those who would murder innocents with abstract, serene satisfaction.
I just really enjoying creating in general; I used to also write stories and play music and do different crafts, but illustration ended up being the creative outlet that I focused on for my career. I feel like illustration gives me the flexibility to tackle more abstract or loose ideas, as well as just enjoy the process of putting time into developing a skill.
The design is a really flat primary color with all sorts of abstract geometric shapes, just implying something. And then you'd have your characters running from something with guns. It was very expressionistic.
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