Photography started as a means of getting reference material for my paintings of nature subjects.
I had bohemian parents in Seattle in the last '60s living in a houseboat. My dad wrote science fiction novels and painted big murals and oil paintings.
One of the best things about paintings is their silence - which prompts reflection and random reverie.
Casting is sort of like looking at paintings. You don't know what you'll like, but you recognize it when you see it.
One newspaper even published one of my nude paintings - the one of me naked from the waste up.
To be alive, to be able to see, to walk, to have houses, music, paintings - it's all a miracle. I have adopted the technique of living life miracle to miracle.
You were told how much space so it was a matter of whether you could send in two paintings or three paintings, you know, pending where the show was being held. You did submit work to be accepted. Once you were accepted that was it. You did your own selection of what went in.
People either hate my paintings or they love them. There does not seem to be much middle ground.
My idea is to paint paintings so that when you walk into a room, I'm pulling you in, or that makes you suddenly stop and wonder: 'What is this? There is something groovy, something else going on here.' Also, I want to give you what is obvious and what is not obvious to the eye.
You know I was curious - I was interested in all kinds of mystery or deeper meanings in the paintings because I myself have not analyzed why they have turned out like this or like that.
Some people would say my paintings show a future world and maybe they do, but I paint from reality. I put several things and ideas together, and perhaps, when I have finished, it could show the future.
Dwight is a sad clown. You've seen those paintings of sad clown.
Through her paintings, she breaks all the taboos of the woman's body and of female sexuality.
People go to see beautiful paintings to see how much they cost. Wow. The practical value is that it shows you what the human spirit can do.
I have some beautiful 20th-century drawings and a few paintings, but I'm not a collector, and I'm not particularly attached to objects.
I prefer to leave the paintings to speak for themselves.
All pictures are unnatural. All pictures are sad because they're about dead people. Paintings you don't think of in a special time or with a specific event. With photos I always think I'm looking at something dead.
The paintings that really excite me have an erotic element or side to them irrespective of subject matter.
I couldn't go into the haphazard drawing or the paintings, the splashing of paint. I wanted to go back to a completely dry drawing, a dry conception of art.
The painter must enclose himself within his work; he must respond not with words, but with paintings.
Up until 35 I had a slightly skewed world view. I honestly believed everybody in the world wanted to make abstract paintings, and people only became lawyers and doctors and brokers and things because they couldn't make abstract paintings.
People are predominant in my paintings. Although they are not obvious, you can feel their presence.
Delphine Lucielle's paintings are profound, unique, and moving. It is rare to find contemporary art that combines both beauty, innovation, and creates a new style of painting by fusing technology and nature. Delphine Lucielle is pushing the boundaries of what art is capable of.
I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.
If I hung one of my paintings next to someone else's, I knew mine would kind of pop off the wall.
I often use hypothetical situations to generate information and imagery for paintings and to create a fictional space where a subject can be put into play.
The way I create music is maybe like a painting, to compose in a more visual way. Basically it's the music that I want to hear- that's my inspiration and bottom line. I just try to get ideas from books, movies, paintings.
I love painters because I don't paint, so I get to enjoy art; I like collecting paintings.
My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc.
The thrill of a photo-realist painter is if you get really close to the painting, it looks just like a photograph. Whereas in my case, if you get close to my paintings, they totally fall apart - so I'm about as far from a photo-realist as it gets.
I walked across Tuscany from Siena to Rome, which was a lovely way to see the landscape. It was sunny but not too hot, and we made detours to look at treasures - churches, paintings, little hill villages. The first couple of days, you feel your knees are turning to jelly. But, at the end, you feel very limber. I hope I can always do it.
I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.
Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
I like eating out. I like buying beautiful paintings and being surrounded by beautiful things. I have to finance that life. I can barely afford a pension scheme because I don't make enough money.
By painting colors and lines and forms seen in quickened mood I was seeking to make this mood vibrate as a phonograph does. This was the origin of the paintings in The Frieze of Life.
I want to make paintings that look as if they were made by a child.
