For me nature is not landscape, but the dynamism of visual forces, an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.
I can't stop thinking about cutting myself up. Visual bruises can be covered with make-up, but down to the core, I'm all bruises.
Today every city, town, or village is affected by it. We have entered the Neon Civilization and become a plastic world.. It goes deeper than its visual manifestations, it affects moral matters; we are engaged, as astrophysicists would say, on a decaying orbit.
One should really use the camera as though tomorrow you'd be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it.
If you do not have an alert and curious interest in character and dramatic situation, if you have no visual imagination and are unable to distinguish between honest emotional reactions and sentimental approaches to life, you will never write a competent short story.
I am fascinated by language in daily life: the way it can evoke an emotion, a visual image, a complex idea, or a simple truth.
I am very much aware of the visual side of things. I do a lot of photography. I often take Polaroids of things that strike me as visually interesting, just to remember them and perhaps use later.
Even though fixed in time, a photograph evokes as much feeling as that which comes from music or dance. Whatever the mode - from the snapshot to the decisive moment to multi-media montage - the intent and purpose of photography is to render in visual terms feelings and experiences that often elude the ability of words to describe. In any case, the eyes have it, and the imagination will always soar farther than was expected.
This recognition, in real life, of a rhythm of surfaces, lines, and values is for me the essence of photography; composition should be a constant of preoccupation, being a simultaneous coalition - an organic coordination of visual elements.
As far as I am concerned, taking photographs is a means of understanding which cannot be separated from other means of visual expression. It is a way of shouting, of freeing oneself, not of proving or asserting one's own originality. It is a way of life.
The challenge for me has first been to see things as they are, whether a portrait, a city street, or a bouncing ball. In a word, I have tried to be objective. What I mean by objectivity is not the objectivity of a machine, but of a sensible human being with the mystery of personal selection at the heart of it. The second challenge has been to impose order onto the things seen and to supply the visual context and the intellectual framework - that to me is the art of photography.
Black and white photography is truly quite a 'departure from reality', and the transition from one aspect of visual magic to another was not as complete as many imagine.
Photography is a system of visual editing. At bottom, it is a matter of surrounding with a frame a portion of one's cone of vision, while standing in the right place at the right time. Like chess, or writing, it is a matter of choosing from among given possibilities, but in the case of photography the number of possibilities is not finite but infinite.
They were ... pure and unadulterated photographs, and sometimes they hinted at the existence of visual truths that had escaped all other systems of detection.
You must have a visual sense if you want to be a photographer. It is a very subtle thing, this visual business.
The Chess pieces are the block alphabet which shapes thoughts; and these thoughts, although making a visual design on the chessboard, express their beauty abstractly, like a poem
The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism. Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.
The horror genre has been for me an original way of taking an explicit visual and visionary approach to directing.
A cinematographer is a visual psychiatrist, moving an audience... making them think the way you want them to think, painting pictures in the dark.
Photographing these flowers has made me see the world differently. It was as if I had lifted a secret veil from a subject I had loved and appreciated my whole life. I offer these photographs with the hope that they will open a new visual or meditative universe for you as well.
While films are a very visual and emotional artistic medium, video games take it one step further into the realm of a unique personal experience.
Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.
It entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.
I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.
I wanted to be a visual artist because I grew up around a lot of painters and photographers and had a very artistic upbringing. And I fantasized about being a drug-dealer when I was a kid. I thought it would be a good opportunity; I knew that the market would be strong. Is that bizarre?
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