I was just so surprised at the impeccable images I had in my head that I just had to express them in some sort of physical matter.
I am fascinated by the idea of employing beautiful images as a device to convey something extremely disturbing in an apparently harmless way.
I couldn’t identify with the images in ‘Elle’ or ‘Vogue’ or ‘Harper’s Bazaar.’ Nobody in the world we’re walking around in actually looks like that.
War is big and there are only so many reporters and only so many places for their words and images to appear. Choices are made constantly.
When I was painting portraits and – shall we say? – rather allegorical heads, which is the figurative work which immediately preceded the direction I have since gone, these images were always of a very fixed, rigid quality, and, of course, my work still has this aspect.
It was a privilege to direct the music video for Adele’s beautiful, heartbreaking song, ‘Hello.’ When I first heard it, all the images appeared clearly in my head – and her trust and generosity allowed me to work with abandon artistically and emotionally, like she always does. It made me extremely proud.
My true function within a society which embraces all of us is to continue an age-old tradition. This tradition is to create images from the depths of the imagination and to give them form, whether visual, intellectual or musical.
It’s important that I’m a role model and that the companies that I associate myself with feel the same way about their own images. Those are companies I’d like to be associated with.
News and images move so easily across borders that attitudes and aspirations are no longer especially national. Cyber-weapons, no longer the exclusive province of national governments, can originate in a hacker’s garage.
Looking back, fire images have been constant in my poetry. As a boy, it was my job to light the fire each morning, and I remember the celebratory bonfires at the end of the war. It was from staring into fire that I began my first poetry.
Records have images. There are wet records and dry records. And big records.
There’s no proof of the Earth’s curvature and this fake space agency Nasa use CGI images and every one is different.
As touch-screens have become more popular, they have retrained how we interact with images we see on many surfaces.
Something different happened to me when I started to write music to images. It was a feeling of excitement and connection and a sense of being in the right place that I never had before.
I’m in the early stages of a film called ‘Freezing Time’ about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.
I trust the readers to build their own visual images. To me, that’s part of the wonder of reading.
The nature of the human mind is such that unless it is stimulated by images of things acting upon it from without, all remembrance of them passes easily away.
We’re constantly bombarded with perfect airbrushed images. Every magazine you look at is like ‘top 20 tricks to have the perfect body’ and it’s ridiculous.
When I fish, there are a lot of images that come to my mind of when I was a child. I did not have things I have now, so to go fishing now is completely different. I am very grateful for all that I have acquired in life.
History speaks to artists. It changes the artist’s thinking and is constantly reshaping it into different and unexpected images.
We live in a media saturated world. I’m sure artists of the past would have dealt with it in just the same way. If you’re in the business of communication and images, then if you ignore the media-sphere you’re just cutting off your own foot. It’s just daft.
I couldn’t watch Tom and Jerry. The cruelty was too much. I had all these strange images, of tiny animals, all mixed up.
Drake went through my exhibition. I did meet him in Los Angeles, and he was in the spaces that I did do there, and has some images from that.
When I have used cartoon images, I’ve used them ironically to raise the question, ‘Why would anyone want to do this with modern painting?’
I have been doodling since childhood. I have a passion for illustrating but cannot paint or colour for that matter. I illustrate what I am trying to communicate through my writing. My images are like drawings in a science text book.
I think I was driven to paint portraits to commit images of friends and family to memory. I have face blindness, and once a face is flattened out, I can remember it better.
If I can be in a place where my image is encouraging people to see different people behind the camera, and my image and the images I make can help open up a certain world view, I think that’s all a part of a larger spirit of change and progress, and I’m happy to be part of it.
The essence of cinema is editing. It’s the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.
I made several short films with very little dialogue. I’m still not a fan of talking heads. My stories are told with images as much as possible.
I’m really interested in how we view the public figure, what makes a public figure, what makes a celebrity, and how images make politicians, so I take an interest in politics, but it’s really an interest in the image.
Retouching is an incredible tool but can also create unrealistic expectations for women who don’t understand that an image is not how the subject really looks. Even the subjects themselves can’t live up to their retouched images.
The large ensemble cast and the fact that it was being shot in New York, combined with a lot of strong positive images as far as African Americans are concerned, really turned me on to The Best Man.
Being young and female in America, you watch a lot of T.V., and you grow up on false images of what love truly is. We think the man with the best rap will protect and save us, about it’s not usually that way. Then you learn love is something deeper and purer in form.
My works look to how images are produced, but specially based upon how the material reacts.
I’m always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.
I think there’s tremendous power in the images we associate with Russian culture and history, these extremes of beauty and brutality that lend themselves to fantasy.
All of a sudden, those few pages of script that he had shown me with the weird images I could visualize all of that in my brain, and I knew that there was this mad little genius at work here and I really wanted to do the film.
Images can make realities out of people and struggles – the reality we give them. Images really matter.
We Californians can watch the Weather Channel for images of winter’s brutality unleashed upon our fellow Americans and thank our lucky stars we don’t have to contend with it.
I want more images onscreen because when I was growing up, I think, like, that one kiss in ‘The Color Purple’ was the one thing that I had. Or ‘The Watermelon Woman.’
It is normal for me to wake and find myself writing in the dark… or to be out of my tomb, caught in an unearthly world, alive with the images that haunt me.
I spend a lot of time practicing active imagination before I go to sleep. What I’m feeling will manifest as images through active imagination. And then I go to sleep, and those play out even more in my dreams.
As a cameraman, I am interested in images and truth. Today, people are conditioned to accept lies if they are commercial lies. What we don’t see anymore is ethics.
I have absolutely no interest in creating depressing images.
I used to take formal notes in lines of blue, and underline the key words in red, and I realised I needed only the key words and the idea. Then to bring in connections, I drew arrows and put in images and codes. It was a picture outside my head of what was inside my head – ‘mind map’ is the language my brain spoke.
I felt like I was definitely seeing something – the falsely gorgeous images of war, painted, almost invariably, in ‘Times’ combat photos.
Working on fashion shows, you work with the designer and try to read his brain – what was in the creative process, what images did he have in his head?
No matter what I do, I can’t help but feel that I’m under a microscope. Some of it is completely silly, and some of it is meant to be hurtful. For example, a website accumulated all of my music videos to point out perceived Illuminati images. I loved that one. Of course, it was all ridiculous but funny.
I know there are thousands of images of me.
The ‘Robben Island Bible’ has arrived at the British Museum. It’s a garish thing, its cover plastered with pink and gold Hindu images, designed to hide its contents. Within is the finest collection of words generated by human intelligence: the complete works of William Shakespeare.
There is a perception within our community and the world that black people don’t love each other. That we don’t fight for each other. That perception is so dangerous. We need positive images to counter the negative portrayals we see every day. And positive doesn’t mean perfect. Perfect is boring.
The focus in the Western pictorial tradition is on the body of Christ, the bit you can paint, the Nativity and the infancy, but above all the Passion, where you can find images for every stage and every moment.
