Zitat des Tages über Malerei / Painting:
I work on words, mostly, toward them being poetry or short stories, and then some of those become songs. They all find their place in the world, but they all start off in the same place. I'm always painting and drawing as well, and it's an ongoing creative assignment.
I hate painting.
I wanted to dress the woman who lives and works, not the woman in a painting.
My movement from painting to film was a very conscious one.
I'm compelled to paint nearly every day. I just felt like making a painting, went out and bought paints and a canvas. Now it fulfills me creatively when I'm not doing music: it's something you can do by yourself and it's totally yours. It's a great adjunct to my life.
I'm very superstitious. I come from a family that's big on not painting the nursery until the baby is home.
I never consciously said, 'I want to be an actor.' It sounds stupid, but it's kind of like being a painter or something. You don't say, 'From today on I'm going to be a painter.' It's not something conscious - you've just been painting pictures all your life.
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.
For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.
Painting, n.: The art of protecting flat surfaces from the weather, and exposing them to the critic.
My horizon on humanity is enlarged by reading the writers of poems, seeing a painting, listening to some music, some opera, which has nothing at all to do with a volatile human condition or struggle or whatever. It enriches me as a human being.
I don't have much of a problem with interruptions. I keep a detailed record of paint and materials as a work on each painting. I can restart exactly where I left off.
Painting is damned difficult - you always think you've got it, but you haven't.
An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.
Is the Mona Lisa an 'accurate' representation of the actual human model for the painting? Who knows? Who cares? It's a great piece of art. It moves us. It makes us wonder, makes us gape - finally makes us look inward at ourselves.
I have always been a fan of Salvador Dali, but Amrita Sher-Gil, who was an Indian-Hungarian painter, is another favourite. She was painting Indian women, and, growing up here, I'd never seen anyone paint Indian women, so that was really incredible to see a painting of someone who looks like you. I think that has a lot of impact on you.
It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
It all has to do with art - writing, painting, things I've done for a long time but just never had enough time to pursue. I have poetry - things that are designed for songs, but they're always poems first.
One does a whole painting for one peach and people think just the opposite - that particular peach is but a detail.
Painting is a blind man's profession. He paints not what he sees, but what he feels, what he tells himself about what he has seen.
Painting what I experience, translating what I feel, is like a great liberation. But it is also work, self-examination, consciousness, criticism, struggle.
A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery.
Lend your ears to music, open your eyes to painting, and... stop thinking! Just ask yourself whether the work has enabled you to 'walk about' into a hitherto unknown world. If the answer is yes, what more do you want?
The substance of painting is light.
The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.
The greatest advances of civilization, whether in architecture or painting, in science and literature, in industry or agriculture, have never come from centralized government.
I think you have to control the materials to an extent, but it's important to let the materials have a kind of power for themselves; like the natural power of gravity, if you are painting on a wall, it makes the paint trickle and it drips; there is no reason to fight that.
All painting, beginning with Impressionism, is antiscientific, even Seurat. I was interested in introducing the precise and exact aspect of science, which hadn't often been done, or at least hadn't been talked about very much.
The majority of my work is from life. I spend most fine days from May to October painting outside.
I paint, and painting gives me my much needed break from my routine. Painting was a subject in my school, and I developed a liking for the lines and colours and started practising in my free time. It helps me de-stress amidst my hectic shooting schedules.
I was worried in the '80s that the best abstract painting had become obsessed with materiality, and painterly gestures and materiality were up against the wall.
I seldom have my stuff up unless I'm testing it. If I'm worrying about a painting, I put it up and see if I detest it quickly or slowly. Otherwise I have things by other artists.
In traditional Asian arts, the word and the picture always sit next to each other. I have an aunt, a Chinese brush painter, who told me that when you do a Chinese brush painting, you have to pair the image up with some poetry.
Painting and photography keep the creative channel open, and for an actor, it's to keep alive, it's to keep awake, it's to keep watching, it's to keep feeling, it's to keep enjoying, to keep that sensuality of feeling alive.
I have ADD or something. Even when I am doing something, it's me on the computer, I'm painting and I'm writing music. I have to rotate what I'm doing every 15 minutes.
That's when I feel really excited about a painting. When it starts to feel real, when it feels like it has a personality.