It seems to me madness to wake up in the morning and do something other than paint, considering that one may not wake up the following morning.
My work isn’t overtly political, although it is sometimes painted in places where I don’t have permission to paint, so that could be construed as a political statement.
To model yourself after Steve Jobs is like, ‘I’d like to paint like Picasso, what should I do? Should I use more red?’
The surface of American society is covered with a layer of democratic paint, but from time to time one can see the old aristocratic colours breaking through.
The idea of taking a brand that already exists and making a really poor-looking version of it, with acrylic or puffy paint, is really aesthetically pleasing to my eyes and also funny.
I paint to evoke a changing language of symbols, a language with which to remark upon the qualities of our mysterious capacities which direct us toward ultimate reality.
I like men who paint or write or do something creative.
I paint what I see, not what a camera would see.
I was a child prodigy. Like Michelangelo, who could draw a perfect circle at age five. I was extremely gifted. I could paint a perfect portrait of someone at age five.
I paint my own reality. The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any other consideration.
I thought, ‘How cool would it be to paint Donald Trump in Donald Trump’s house with Donald Trump there.’
Usually, I am a compulsive person, and I need – sometimes urgently – to paint… Painting is close to poetry, is a kind of poetry expressed visually. It has to be spontaneous, rapid – at least in my case.
Youth is impulsive. When our young men grow angry at some real or imaginary wrong, and disfigure their faces with black paint, it denotes that their hearts are black, and that they are often cruel and relentless, and our old men and old women are unable to restrain them. Thus it has ever been.
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.
Get into your own creativity. Sketch and paint with different mediums and follow your heart.
My uniform is sweatpants, so crusted over with dried paint that they’re as hard as a table. I wear T-shirts that are also covered in paint, and Crocs.
Sometimes I really want to paint somebody and I don’t get a photograph that I want to work from.
Movies were always the goal, but I had a lot of goals. Twelve-year-old me wanted to do everything: act and sing and paint and dance.
We write for the same reason that we walk, talk, climb mountains or swim the oceans – because we can. We have some impulse within us that makes us want to explain ourselves to other human beings. That’s why we paint, that’s why we dare to love someone – because we have the impulse to explain who we are.
The ’90s weren’t my finest years artistically. I wrote some good songs in there, but in terms of my vision of getting the paint on the canvas, that was not my best time. I didn’t like the fact that I had fallen into mediocrity.
At Cornell University, my professor of European literature, Vladimir Nabokov, changed the way I read and the way I write. Words could paint pictures, I learned from him. Choosing the right word, and the right word order, he illustrated, could make an enormous difference in conveying an image or an idea.
If I’m O.K., I will abandon restrictions and curbs imposed on myself. Not physical ones, but those restrictive tabs on my inner being, on solely myself. I will strip me of superficial dishonesties. I will paint against every rule I or others have invisibly placed.
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.
I take it very seriously, music. I think it’s one of the tools that a director has with which to kind of paint. The right music can sometimes do five pages of scripted dialogue.
Know what you’re trying to do before you do it. Turning knobs at random isn’t enlightening any more than throwing paint at a wall blindfolded will let you paint a nice picture.
I paint people not because of what they are like, not exactly in spite of what they are like, but how they happen to be.
I knew I wasn’t soft. I knew I could play on this level and I knew that being in the paint was just a physical position that I wasn’t strong enough for. I wanted to get myself strong enough where I could be dominant down there.
No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.
I like dirty boys. Mechanics, construction workers, artists who get paint and clay everywhere. They gotta have rough hands.
Getting into the paint is easy. Seeing if the help comes is easy – they either come or they don’t. The hard part for me is seeing early where it’s coming from and when – and if I can still finish, or if I should pass it off. Deciphering all that without overcomplicating it has been a challenge.
I think that I can get into the paint anytime I want to. What I have learned is that when I do get into the paint, I do have options.
I have a sewing machine that I adore, and I spend a lot of time sitting in front of it when I’m not working. And any excuse to paint or draw or do something artistic with my hands really gets me going. Definitely aspiring.
It’s true that I have a wide range of interests. I like to write and paint and make music and go walking on my own and garden. In fact, gardening is probably what I enjoy doing more than anything else.
Everybody always laughs because I feel so much more comfortable with, like, a giant paper bag on my whole body and paint on my face. Sometimes I try really hard to take it all off. But inevitably what’s underneath is still not a straight edge. And I don’t think it ever will be.
There’s certainly pressure to find your audience early. You need to paint the picture, but it’s tough trying to find the balance between a show that people can tune in on any given week while still grabbing the people who are there every week.
I did a business in a box called College Pro Painters. They taught you how to paint houses, how to hire and fire, how to sell, how to deal with customers. You got a one-year franchise. It was the hardest year of my life in terms of hard work. I won manager of the year. It was very successful.
All art is exorcism. I paint dreams and visions too; the dreams and visions of my time. Painting is the effort to produce order; order in yourself. There is much chaos in me, much chaos in our time.
I always like to talk about how important space is. Art is in the spaces. Anybody can sing a note; it takes an artist to sing the spaces. Anybody can paint a brushstroke; it takes an artist to know when not to put the brushstroke.
The world today doesn’t make sense, so why should I paint pictures that do?
I think that’s what makes characters interesting – when you paint a person into a corner, and you see what they do to get out of that corner. It’s what makes drama drama.
I paint digitally now. A pity, in some ways, as the biggest price one pays is that you no longer have a finished piece of physical art to hang on a wall. I miss that terribly.
I work on stretched linen canvas, sized so that the surface already has a sense of tension when I begin. It is a very rich and reactive surface. I begin by drawing on the canvas with a kind of loose line, very simply and freely. I paint very thinly, which allows me to change the drawing if I want to.
I paint to rest from the phenomena of the external world-to pronounce and to make notations of its essences with which to verify the inner eye.
It’s obviously unfair to paint with a broad brush here, but the germ of an idea for a breakthrough in technology doesn’t come out of a business school curriculum. It comes out of a laboratory or a math lecture or a physics tutorial.
My father, Fukujuro, drove a cab and my mother, Itsuko, was a homemaker. My parents often took me to see Impressionist exhibits. At home, I would paint pictures in a similar style.
When I was a child, I used to paint intently. The older I become, and the closer death approaches, the brighter my life gets day by day.
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.
I don’t like acrylic because you can’t get the density of color. And with each coat of oil paint, the surface gets better and richer.
I did not know how to paint a mural. I did not know how to prepare the surface. There was nobody from the Renaissance around who could advise me, and I did the best I could.
I just got really into this one girl on Instagram and had her paint little pineapples on my nails during shooting.
I actually started as a model builder and quickly progressed into production design, which made sense because I could draw and paint. But I kept watching that guy over there who was moving the actors around and setting up the shots.
