When I was younger, I had no interest. But after I went to Paris to see the collections for the first time a few years ago, they made a huge impression on me. I realized that fashion is an art form, like acting or painting.
Which painting in the National Gallery would I save if there was a fire? The one nearest the door of course.
I still have an old painting the Colonel gave me. It was the first time the Colonel had been back to the Hilton since Elvis had passed away.
All art began as sacred art, you know? I mean, all painting began as religious painting. All writing began as religious writing.
The trend in some of the contemporary movements in art, but by no means all, seems to deny this ideal and to me appears to lead to a purely decorative conception of painting.
On occasion I have drawn as a release from painting. The economy in using paper, pencil, charcoal and crayon can help towards a greater gamble and higher rewards. I also find that drawing can generate ideas more rapidly than painting.
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've dreamed landscapes for years, and my dreams play an enormous role in my work. In fact, when I first started doing landscapes I felt insecure about painting in this style, and the dreams were like positive omens for me, and I've done a few paintings that were exact replicas of images that came to me in dreams.
The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.
It was a huge challenge to learn digital painting well enough so that computers don't pop into mind when one sees one.
The goal is always to make a nice tableau painting with the voice. The more color I can find, the more shadow I can find - the goal is always to make more nuance and colors.
Most people don't really like to pose. It is difficult to get them to be present and relaxed under this kind of molecular scrutiny. I want them to understand I'm not simply painting them: I am painting them within a precise moment in time, as a shadow moves across their eyebrows. Then it is gone. The moment is over.
If you scratch a great photograph, you find two things; a painting and a photograph.
At 18 I began painting steadily fulltime and at age 20 had my first New York show at the Macbeth Gallery.
Every painting is a voyage into a sacred harbour.
My father is a well known artist, Ted Dyer, who has been painting for many years. Our work is very different, but growing up surrounded by paintings, paints, easels and art books does have an effect.
With a painting, you don't have to go back and paint it again.
As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together. This happened in 1989. Since then, it's been a long road of educating myself in every possible way.
I never was very capable of expressing my feelings or emotions in words. I don't know whether this is the cause why I did it in music and also why I did it in painting. Or vice versa: That I had this way as an outlet. I could renounce expressing something in words.
You buy any book on color theory today, and it's just complete poppycock. Everybody comes out of school painting pink, purple and green. The whole damn cartoon industry has pink purple and green on their mind.
Now painting is different. It's something recollected in tranquility.
A painting is finished when the subject comes back, when what has caused the painting to be made comes back as an object.
Parks are works of art just as a painting or sculpture is.
Like most sensible people, you probably lost interest in modern art about the time that Julian Schnabel was painting broken pieces of the crockery that his wife had thrown at him for painting broken pieces of crockery instead of painting the bathroom and hall.
And I think a painting has such a limited life anyway.
I wanted to get out of this country and experience different ways of seeing the world. So I went to Europe, but I went as an artist. I was increasing my skill set and exploring storytelling through painting.
The artist himself is actually the subject in everything after, say, 1900. Eventually, art becomes so removed from the community that you have to know about the artist before you can even look at the painting, because there is a conceptual idea going on.
To me, writing and composing are much more like painting, about colors and brushes; I don't use a computer when I write, and I don't use a piano. I'm at a desk writing, and it's very broad strokes and notes as colors on a palette.
I love painting. I went to college in fine arts, and I still do it all the time.
I think when somebody's painting they don't necessarily... I'm not illustrating what I know. I'm mapping out, like topographically, some terrain I am satisfied with, how awkward that mark is.
Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.
It's not like since I make comics I only read comics and since I make movies I will only go out and watch movies. Any kind of artistic expression interests me; it goes from literature to music to sculpture, painting; whatever is extremely inspiring for me becomes a reference also for me.
I'm 38 years old and Limp Bizkit is just something I do. If I was a painter, it would just be a type of painting I make.
I have sworn to die painting.
I think it is an inborn talent - just luck. Some people can learn languages; some can throw a ball. Most people have something. My talent is drawing and painting.
But, after all, the aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live.
