A Quote by Edward Ruscha
When I paint a picture of a house, that goes back to my roots.
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When you write a novel or paint a picture, you have the opportunity to approach it and back off, tear up pages, write, rewrite, paint over, and come back to it. In film, once you start shooting, you can't restart the clock, and you keep moving forward, and you don't look back, and you don't go back. And that is, of course, antithetical to the creative process. It's really hard to generate a comfortable creative flow under that kind of pressure.
If you paint a picture and I paint a picture, we each want to do it our own way. And we'll stand or fall on whatever we did.
We had all these smiley family pictures all over the walls of my house, but I always found those pictures to be odd because we weren't smiling all the time. I don't want to paint the picture of a total dysfunctional house, but there were a lot of arguments in that house. A lot of pain.
What you do when you paint, you take a brush full of paint, get paint on the picture, and you have faith.
Consider a tree for a moment. As beautiful as trees are to look at, we don't see what goes on underground - as they grow roots. Trees must develop deep roots in order to grow strong and produce their beauty. But we don't see the roots. We just see and enjoy the beauty. In much the same way, what goes on inside of us is like the roots of a tree.
The reason for my painting large canvases is that I want to be intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command.
The pictures come to me in my mind, and if to me it is a worthwhile picture I paint it I do over the picture several times in my mind and when I am ready to paint it I have all the details I need.
It takes two guys to tell a story, paint a picture, so our audience can be entertained and brought into the match. You need to suck people in emotionally to a match, and it takes both parties to paint that picture.
If you're a painter, paint. But you don't have to put Jesus in every picture. Paint well, and if you paint well enough, they might ask you why you do that.
I would say - and paint doesn't peel unless it's acrylic paint, so maybe it is acrylic paint that they're using, not oil paint. So let me say yes, it would be acrylic house paint, which, when it dries, peels very nicely. So let's go with that.
I do house things. I paint. I do portraits. I also paint my house.
You cannot paint the exterior of your house. You have to take the paint chip down to show the paint-chip Nazis.
This is just the way it goes: there's always a cycle with music - it goes up and it goes down, it goes risque and it goes back, it goes loud then it goes soft, then it goes rock and it goes pop.
A genuine man goes to the roots. To be a radical is no more than that: to go to the roots.
I think we're in an age where artists really have an incredible range of materials at their command now. They can use almost anything from household items - Jackson Pollock used house paint - to, you know, advanced computer systems, to good old oil paint and acrylic paint.
I love paint. I like watercolours. I like acrylic paint... a little bit. I like house paint. I like oil-based paint, and I love oil paint. I love the smell of turpentine and I like that world of oil paint very, very, very much.
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