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.
It is the painting that makes me so happy these days.
As much as I love performing, nothing juices me up creatively like being in my own studio for an extended period. Songs, ideas, even paintings are pouring out of me. My inspiration and usual subject matter: life.
I think one important thing that happens in the studio is accepting yourself as the enemy and painting from that point of view. So instead of pointing the finger outward and passing judgment, instead, you start with yourself as your own worst enemy.
I stopped painting because I was so shocked at what I was doing and how much I wasn't in the work. The work was alien to me. I didn't know how to paint in a way that would get me out of this funk.
When criticism comes your way as an actor they are not criticizing your writing or your painting or your piece, they are criticizing you! It is hard to put that away in a place where you are not hurt.
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.
It's impossible to predict which paintings will last and which won't. In New Orleans I painted on a dilapidated shop in a street littered with abandoned cars and rotting mattresses, then two hours later the piece was gone. It turned out I'd picked the side of a crack house and the proprietor didn't like the attention.
Music is an amazing thing. I don't know if we really think about it the same way we consider a painting an amazing thing. I mean, a painting is, in quotes, imaginary. There is nothing on the canvas when you start; and writing a song, there is nothing there when you start.
Before I started working on a computer, writing a piece would be like making something up every day, taking the material and never quite knowing where you were going to go next with the material. With a computer it was less like painting and more like sculpture, where you start with a block of something and then start shaping it.
I really prize and love great painting. It's so out of date now. It's slightly come back in.
I had gone to Paris to immerse myself in painting and I came back wholly involved in words and rhythms.
I believe that there's a force of life in the universe, and that when we're writing or making music or painting, we're likely to connect with that flow.
When I saw what painting had done in the last thirty years, what literature had done - people like Joyce and Virginia Woolf, Faulkner and Hemingway - in France we have Nathalie Sarraute - and paintings became so strongly contemporary while cinema was just following the path of theater. I have to do something which relates with my time, and in my time, we make things differently.
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'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.
[Pablo] Picasso really changed my life. It's strange to say so, but I started to see some Picasso paintings very early. I was very young, and he was not so much known.
The freedom he gave himself to work and change shape and change ideas and work all the time with joy, the joy of painting was in [Publo] Picasso, which I found beautiful.
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.
Your main contribution is spray painting your nickname on other people's things. And my cousin, who's a 'gangster', he's like, 'No, Tash, you don't understand; you throw a fat piece up there, that piece is yours.' I'm like, 'No one thinks you own Costco.'
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.
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.
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.
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