In a way, there's nothing more intimate than a piece of jewelry. A painting is hung on somebody's wall. You put a piece of furniture in your home. But jewelry is worn by a person, so there is a fascination with the history of a piece.
I remember I went to an exhibition somewhere and one of the artists, an Iranian lady, said, "I wish we had somewhere that our paintings would stay forever." So this idea came to me. I said, "She's right, we should have a place to keep them, and not only Iranian art works, but also of foreign artists."
For me, preparing the canvas takes longer than painting. The actual painting takes about half an hour.
That's partly the success of my work-the ability to have a young black girl walk into the Brooklyn Museum and see paintings she recognizes not because of their art or historical influence but because of their inflection, in terms of colors, their specificity and presence.
Sometimes I find myself at three o'clock in the morning painting something and throwing things around and seeing what works. I'd like to properly study fine art. I think it would be quite an interesting endeavor.
I get so tired of painting. I've been trying to give it up all the time, if we could just make a living out of movies or the newspaper business or something. It's so boring, painting the same picture over and over.
I'm always looking at the computer. I make all of my work on the computer at some point or another. Almost all of the paintings come from a file.
Sometimes you need to live with a painting for a while. Starting a painting can be easy, but finishing it... that's the skill of the painter, how you finally know when it's done.
I think about my art works as paintings, because they refer to the history of painting. I also have to think about them as sculptures, because every part of the process is part of the project. They're sculptures because they play on the idea of what should be hanging in a gallery. In that sense they're also kind of ready-mades.
It's not your pictures I like; it's your painting.
It is an unfortunate fact that great and foolish excess can come into prices of common stocks in the aggregate. They are valued partly like bonds, based on roughly rational projections of use value in producing future cash. But they are also valued partly like Rembrandt paintings, purchased mostly because their prices have gone up, so far.
The thing that started me painting originally was seeing Bambi when I was about nine. I was incredibly disturbed by the forest fire that killed Bambi's mother, and that distress gave me the impulse to create something, as a way of dealing with it.
Realist painting has to do with leaving out a lot of detail. I think my painting can be a little shocking in all that it leaves out. But what happens is that the mind fills in what's missing . . . Painting is a way of making you see what I saw.
Norman Rockwell spent his career painting pictures that helped people understand their own feelings...pictures that enriched their own experiences and celebrated their own lives. But the art establishment branded him an 'illustrator', a sentimental one at that. Real artists, they said were doing art for art's sake, not for the sake of the bourgeois public. Real artists were putting swiggles, smears or daubs of paint on the canvas. They were doing 'innovative' and 'creative' work. If they were hideous and grotesque; we know that's what life really is!
I paint the way some people write an autobiography. The paintings, finished or not, are the pages from my diary.
Writing, playing, composing, painting, reading, listening, looking-all require that we submit to being swept away by Eros, to a transformation of self of the kind that happens when we fall in love.
Painting for process is the visual equivalent of journal writing, done not for the sake of being seen or published, but purely for the telling itself.
When we begin to lift the veils of censorship and repression in painting, a great deal of energy is unleashed.
When you set aside the mantle of control in the painting process, images arise from ancient layers of the psyche.
Look upon paintings with eyes of mystery rather than judgement. Support the need to enter into the sacred space beyond evaluation.
Your art is part of the big painting of your life. You are on your own, standing by yourself in the middle of creation. In the beauty of that aloneness, and in how you respond to it, you will find your passion.
In painting, you can suddenly come upon something so huge that no-one can deal with it.
The real subject of every painting is light.
The power of a painting has to come from the inside out, not the outside in. It's not just an image. It's an image with a body and that body has to contain its spirit...What's behind it decides everything. How it starts will define how it ends.
My paintings are only the ashes of my art
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