Zitat des Tages von Chuck Close:
Neurologically, I'm a quadriplegic, so virtually everything about my work has been driven by my learning disabilities, which are quite severe, and my lack of facial recognition, which I'm sure is what drove me to paint portraits in the first place.
You don't have to have a great art idea - just get to work and something will happen. So that's pretty much my modus operandi and pretty much my principal position, such as it is.
Part of the joy of looking at art is getting in sync in some ways with the decision-making process that the artist used and the record that's embedded in the work.
I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.
I have a great deal of difficulty recognizing faces, especially if I haven't - if I've just met somebody, it's hopeless.
I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
Most people are good at too many things. And when you say someone is focused, more often than not what you actually mean is they're very narrow.
I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.
It's always a pleasure to talk about someone else's work.
I wanted to translate from one flat surface to another. In fact, my learning disabilities controlled a lot of things. I don't recognize faces, so I'm sure it's what drove me to portraits in the first place.
A photograph doesn't gain weight or lose weight, or change from being happy to being sad. It's frozen. You can use it, then recycle it.
I'm very learning-disabled, and I think it drove me to what I'm doing.
There's something Zen-like about the way I work - it's like raking gravel in a Zen Buddhist garden.
I only have so much time and energy and money, and I'm going to put it into my work.
Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.
All the fingerprint paintings are done without a grid.
What difference does it make whether you're looking at a photograph or looking at a still life in front of you? You still have to look.
Ease is the enemy of the artist. When things get too easy, you're in trouble.
I'm plagued with indecision in my life. I can't figure out what to order in a restaurant.
I discovered about 150 dots is the minimum number of dots to make a specific recognizable person. You can make something that looks like a head, with fewer dots, but you won't be able to give much information about who it is.
Sometimes I really want to paint somebody and I don't get a photograph that I want to work from.
Photography is the easiest medium with which to be merely competent. Almost anybody can be competent. It's the hardest medium in which to have some sort of personal vision and to have a signature style.
I don't care about the Guggenheim. The Guggenheim isn't involved in anything that I am interested in. I don't care about motorcycles and Armani suits.
I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.
I'm poor white trash from the state of Washington.
Painting is the frozen evidence of a performance.
It doesn't upset artists to find out that artists used lenses or mirrors or other aids, but it certainly does upset the art historians.
You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
