People say, 'Why don't you just paint with paintbrushes?' I say that I feel more connected to my painting using my skin. It's very tribal in a way - savage!
I think it's important I stay connected to every part of my personality. I play basketball. I rock climb. I paint. I'm a little bit scattered, but it's so I can convincingly play all these characters.
I've met a lot of artists who wanted to paint me. LeRoy Neiman was one. He did it from a photograph. He made 20,000 copies, and we sold them all.
When I travel, I draw and paint sketches which is great fun. And as long as you are fully aware that it has nothing to do with actual art, I think that's all right.
The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks.
The armed forces are paying a lot more attention to the use of energy. The Air Force has realized that the paint on planes is heavy, so there are going to be a lot more silver planes, or planes painted in a less heavy way, so that you are using less fuel to get from point A to point B.
To model yourself after Steve Jobs is like, 'I'd like to paint like Picasso, what should I do? Should I use more red?'
I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.
If you know somethin' well, you can always paint it but people would be better off buyin' chickens.
I write because I write - as anyone in the arts does. You're a painter because you feel you have no choice but to paint. You're a writer because this is what you do.
You're making a movie, not a documentary. If you made a film like the historians would like you to make, you're not going to go and see it. I'd rather see paint dry.
I paint objects as I think them, not as I see them.
I paint as if I were Rothschild.
I like dirty boys. Mechanics, construction workers, artists who get paint and clay everywhere. They gotta have rough hands.
Why do writers, say, give up a job in economics and decide to write poetry? Or, why do they give up a job in a bank and decide to paint, like Krishan Khanna? They want to convey something.
At 13, when I was a runaway, I was taken in by the most amazing drag queens in Portland, Ore. We didn't always know where our next meal was coming from, but there was so much camaraderie and love. Not to mention, those girls could paint a face, and I learned how because of them.
I wish there was a painter who could paint as well as Ted Williams could hit.
If I laugh a couple of times a day, I'm doing good. People think it's their God-given right to be happy, and it's just not. It's something you've got to work at. I like to paint the human condition, and the human condition is not smiles and happy people.
Every time I paint a portrait I lose a friend.
I don't like persuaded sitters. I never could paint a cat if the cat had any scruples, religious, superstitious, or otherwise, about sitting.
I want to paint big, bright, optimistic pictures of the place I love.
I paint what I see, not what a camera would see.
When I paint a person, his enemies always find the portrait a good likeness.
I also paint, draw and I'm into film and photography as well, and the same thing applies to all of them. You're presenting this material to the general public and hoping that they're going to 'get' what you're doing. Some don't, some do.
I paint with shapes.
Art doesn't feed me or fill the void when I am not working. If I haven't worked for six months, I can't paint.
Work at the same time on sky, water, branches, ground, keeping everything going on an equal basis... Don't be afraid of putting on colour... Paint generously and unhesitatingly, for it is best not to lose the first impression.
I want to start my own airplane business. I'm going to buy two Dakotas, paint them up in war colours and do, er, nostalgia trips to Arnhem - you know, where the old paratroopers used to go - and charge them about 20 quid a time.
There was a village watercolour society and they'd come and paint in my field. I watched them from the window, the way they would struggle this way and that to find the perfect moment. God has made every angle on that beautiful, and I felt that tremendously.
My only objective is to paint a Christ so moving that those who see him will be converted.
I photograph the things that I do not wish to paint, the things which already have an existence.
Knowing how to paint and to use one's colors rightly has not any connection with originality. This originality consists in properly expressing your own impressions.
I don't paint things. I only paint the difference between things.
I enjoy painting. It's an incredible release of tension, and I feel very excited doing it. I squeeze out some wonderful red paint, and I get a thrill. My heart starts beating faster. It's almost a sensual thing working with these thick acrylic paints. I almost want to put my hands in.
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.
It depends on where you put the paint, not how much you splash on.
