We've had fiction from the time of cave drawings. I think fiction, storytelling, and narrative in general will always exist in some form.
I'm English and I'm used to coming from a world of period dramas, where there's a very polite restraint to everything. Everybody's sort of sitting in drawing rooms.
Growing up working with my dad, I really had no interest in doing the actual work, so I was always like drawing on the wood, doing stuff like that. It just has a real hands-on approach.
For decades I'd flit from drawing table to typewriter to guitar with no sense of strain or contradiction. They all exercised the same psychic muscle (the Imagination), and working in one medium refreshed my appetite for the others.
I'm not a visionary, but I've spent half my life drawing things Imagined, Remembered, and Observed, comparing the differences between them, and my study confirms that "the difference between night and day / is not as great as people say."
I'd done a drawing of the model using only peripheral vision, looking at a spot on the wall to the right of where she sat. It wasn't really a drawing of her I produced; it was a drawing of the cloud of lights and darks she dissolved into when I focused on the spot. You could look at my drawing of this cloud and read it as a nude female figure, though a little translation was required.
I don't draw every day. I tend to draw intensely during certain periods of time. I draw to amuse myself on occasion, when I am bored and drawing is the only fun to be had.
I like making books but I'm not sure exactly what I'm doing. Perhaps I just try to arrange a bunch of seemingly random drawings into something that makes a vague narrative sense. Sometimes it sort of makes sense, sometimes it doesn't.
One of the best memories of my life is contemplating that first finished drawing and realizing I had cracked the code, that I could make drawings like this whenever I wanted.
To my way of thinking, the concept drawings that Rembrandt did, the drawings he made that he used to model his artists, to work out the compositions of his paintings: those are cartoons. Look at his sketch for the return of the prodigal son. The expression on the angry younger brother's face. The head is down; the eyebrow is just one curved line over the eyes. It communicates in a very shorthand way. It's beautiful, expressive, and, in a peculiar way, it's more powerful than the kind of stilted, formalized expression in the final painting.
I don't believe in art like I used to. I believe in something beyond it, something that contains art and everything else. But I just don't quite have the nerve to chuck drawing and painting. Part of it is that I enjoy it too much, and part is that I don't have the courage to renounce the world. I don't want to move out of this nice neighborhood so that I can live in a shed and devote myself to meditating and touching something I can't feel. I'm addicted to the fun of playing in the world.
My drawing came out of editorial-style cartoons. Music was one thing and art was another, and there weren't really any standards for my art. My work was just drawings. They weren't done with any aspirations of becoming a part of punk scene. They weren't about punk. They were just collections of drawings, some of which I xeroxed and sold.
It was never my goal to capitalize on punk. I could never make it as a commercial artist. I didn't back then and I still don't have the temperament and don't care for drawing or painting or making art for any other purposes other my own.
I wouldn't want to be defined so much by comics or cartoons. My work is more narrative than that. If you take your basic cartoon, there's always a punchline or a joke at the end. My drawings don't depend on that so much.
I was very influenced by comics. The drawing style, definitely, I was interested in. My style of drawing is largely a comic style, but it's also much more obvious than comics.
I really don't see any influence of my work on any artists. But I do think I've had an influence on drawings' being shown. I've had an influence on the economics of it.
There are instances where lines in my work are borrowed or stolen from sources, mainly from books, or they become my own versions. A lot of the writing is my own, too. But if someone were to take each drawing and trace it back to its source, most of them could be traced back to a book or a text.
There's always a latent or inferred image in my writing. And I can almost always assume if I do a drawing that it will eventually have text.
Sometimes a collage element I hit upon can inspire the entire drawing.
Creating festivals made a major impact on society in general because you couldn't draw large crowds indoors. At Newport we were soon drawing crowds of 10,000 and there weren't halls that could hold that many people.
Sanctification means the impartation of the Holy qualities of Jesus Christ. It is His patience, His love, His holiness, His faith, His purity, His godliness, that is manifested in and through every sanctified soul. Sanctification is not drawing from Jesus the power to be holy; it is drawing from Jesus the holiness that was manifested in Him, and He manifests it in me.
I used to come from the village with all that dirt and coarse ugliness like a pain within me, and the simpering pictures in the drawing-room seemed to me like a wicked attempt to find delight in what is false, while we don't mind how hard the truth is for the neighbors outside our walls. I think we have no right to come forward and urge wider changes for good, until we have tried to alter the evils which lie under our own hands.
I work on stretched linen canvas, sized so that the surface already has a sense of tension when I begin. It is a very rich and reactive surface. I begin by drawing on the canvas with a kind of loose line, very simply and freely. I paint very thinly, which allows me to change the drawing if I want to.
Drawing attention to myself has never been a goal.
As I spoke with scientists about the way fat behaves, I couldn't resist drawing an analogy to the realm of narcotics. If sugar is the methamphetamine of processed food ingredients, with its high-speed, blunt assault on our brains, then fat is the opiate, a smooth operator whose effects are less obvious but no less powerful.
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