With abstract work, I never was quite sure what it was that felt right about the painting, but I did know that I responded to it and I liked whatever it was offering me.
I had stopped painting around 2000, which I guess was when the music thing started getting pretty busy. I just didn't have enough time to pursue it properly.
I was studying sculpture and painting and was working on a degree so I could become a teacher. I really liked teaching, and it was something I was pursuing when I got out of school.
I'm interested in that way we perceive things, and that was part of what I was getting into in painting - the idea of perception and how information goes through our heads and it comes out another way.
What I would hope to do is painting, because I don't think I'm qualified for anything else. My last job would be babysitting, so I don't think Starbucks would even hire me.
— Kristin Bauer van Straten
She looked up at the sky, now tinged with orange. "Please live. Talk, think, act. And sometimes listen to music..." She stopped briefly. "Look at paintings, allow yourself to be moved. Laugh a lot, and at times, cry. And if you find a wonderful girl, then you go for her, and love her.
You don't need a framework. You need a painting, not a frame.
The dog, the rabbit and the hoop all feature in the painting, and take the place of the orrery.
In the fairy tale the painting represents the here and now. The book is actually divided into five sections, through which the key character, the muse, leads us.
I have always enjoyed drawing and painting but I don't always find the time to do much these days.
You are not to think of painting as something separate from drawing.
When we use numbers we are using symbols, and it is only when we transfer them to life that they become actualities. The same is true with drawing and painting. They are to be learned, not as rules, but as actualities. Then the rules become appropriate.
All my album artwork is body painting.
Fashion, at modern time, was actually a way for women to go out in the world. There was one painting of a woman sitting at a cafÃ©, drinking a beer by herself and kind of pretending to read but really watching people, that sort of thing. It fascinated me.
We are so fortunate, as Australians, to have among us the oldest continuing cultures in human history. Cultures that link our nation with deepest antiquity. We have Aboriginal rock art in the Kimberley that is as ancient as the great Palaeolithic cave paintings at Altamira and Lascaux in Europe.
There's something immediate about the experience of reading a poem. It makes sense in my own mind, but I'm trying to figure out a way to articulate it... It's like looking at a painting: you're able to take in the totality of the work all at once, and so processing whatever information that painting is giving you is almost secondary to simply apprehending what's in front of you.
Try drawing or painting a scene you're working on. Often this will help free up you imagination.
I still make paintings and use the figure; it's hard to do and hard to succeed. On some levels, because I am working with black figures and black pigment, it's even harder because I have to be more responsible for the image. I try to be really careful about the presence the figure projects.
I don't see those paintings as abstractions, especially because they are emblems of the inkblot. They aren't smashed together; they are constructed shape-by-shape, layer-by-layer, like any other picture.
You have to love writing a song and architecture. You have to give it a form. It is my job to create a sonic landscape. I like to create ambiance and atmosphere. The writing is the intimate part of it. It is a sketch. The production is the whole painting.
I don't consider myself to be a painter. I think of myself as someone who has used the medium of painting in an attempt to extend - give an extra dimension to - the medium of words. It happens very often my writing with a pen is interrupted with my writing with a brush - but I think of both as writing.
I think of painting without subject matter as music without words.
I love painting and music, of course. I don't know nearly as much about them as I know about poetry. I've certainly been influenced by fiction. I was overwhelmed by War and Peace when I read it, and I didn't read it until I was in my late 20s.
I don't trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.
Few people can look at a painting longer than it takes to peel an orange and eat it.
Subject becoming less relevant, each painting having a life of its own, each stroke leading to the next. It is more about the connection of body and spirit to canvas, over mind to canvas.
If I make a painting, it should be seen for what it's set out to do too. A lot of the things that I do, it's not all art. Some of it's design, some of it's illustration, some of it's graphics, some of it's concept, some of it's business and some of it, hopefully, is art.
Wherever you are in the world, there's always something about the Australian light. There's something about the sharpness of it, something about the clarity of it, something about the colours of Australia. And hopefully, something optimistic about Australian painting too.
Without good drawing, the foundation of a painting will collapse.
In painting, detail for the sake of itself is useless. It must have relevance to the whole.
I must have the personal dialogue, the private time, with each painting in progress. I can't share it with anyone until it's done.
My paintings don't simply represent what I see; they present viewers with what I want them to see.
The Best of the artist's art, which will one day be in a Museum wall, the Painting that sets the artist apart of all other artist artists.
It's a completely different way of working when you have your own place for recording. It's like if you were a painter, and you do loads of painting, and you just pick which paintings you want to exhibit. It's a much nicer, freer way of making work; you're not limited to anything, and you can make these cool, weird little albums.
A good landscape painting is not just a demonstration of competent application of paint. It must offer a feeling of homage to the subject.
Red is one of the strongest colors, it's blood, it has a power with the eye. That's why traffic lights are red I guess, and stop signs as well.... In fact I use red in all of my paintings.
If commercialization is putting my art on a shirt so that a kid who can't afford a $30,000 painting can buy one, then I'm all for it.
Like a Shakespearean sonnet that captures the very essence of love, or a painting that brings out the beauty of the human form that is far more than just skin deep, Euler's Equation reaches down into the very depths of existence.
My problem is to bring together in a painting two seemingly conflicting, impossibly unmixable ideas. One is that the finished work shall evoke a sense of recognition, of the mysteriously familiar... the other is that in order to do the first I must deeply know my subject...
I love costume dramas, I love performing in them, because in a funny kind of way, you feel more free. You know about the period, you can read the books, you can see the paintings, but you've never actually going to know what it was like. You can kind of stretch those boundaries a bit.