A Quote by Myfanwy Pavelic

I often use an old canvas and I particularly enjoy painting over something I've already done, allowing bits to come jumping through accidentally. — © Myfanwy Pavelic
I often use an old canvas and I particularly enjoy painting over something I've already done, allowing bits to come jumping through accidentally.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
It's like painting the same blank canvas over and over and over and over and over. Once the concept is known, you don't need to see two. And that was in the back of my head, that I was really done artistically with what I had created or pastiched.
I always get into arguments with people who want to retain the old values in painting - the humanistic values that they always find on the canvas. If you pin them down, they always end up asserting that there is something there besides the paint on the canvas. My painting is based on the fact that only what can be seen there is there... What you see is what you see.
I'm not particularly interested in painting, per se. I'm interested in a painting that has that mysterious life to it. Anything that doesn't partake of that magic is halfway dead - it returns to its physical elements, it's just paint and canvas.
I always like to borrow bits and pieces of things. There's a line between jumping on something that's happening and incorporating bits and pieces of it into my work.
Subject becoming less relevant, each painting having a life of its own, each stroke leading to the next. It is more about the connection of body and spirit to canvas, over mind to canvas.
You know when you take the paint off an old canvas and you discover that something's been painted underneath it? That's what I feel like - that part of the old is coming through the new.
When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.
I've come up through art school, through painting, through graphic design, through advertising, through TV commercials and music video. I've designed books, built billboards, matchbooks, corporate identities. I continuously paint, I've done conceptual art pictures.
When we paint, whether it is on our bodies for ceremony or on bark or canvas for the market, we're not just painting for fun or profit, we're painting as we always have done to demonstrate our continuing link with our country and the rights and responsibilities we have to it.
It's true, I do sometimes suspend myself over the canvas, but mostly I work at a table when I'm making a painting. When I use 'The Rig,' my feet are firmly anchored. I lower myself horizontally just long enough to make a brush stroke - a matter of seconds - and then I'm upright again. My assistant then erases the painting quickly with a squeegee and I go for it again... until I get it right. It's like trying to hit a home run.
Painting should educate and enrich. Modern painting merely offers a split-second emotion: You see it, you have an instant reaction and move on. Instead, real painting can be looked at over and over again and each time it has something new.
A naughty part of me thinks, how come Hugh Laurie, Stephen Fry and Tim McInnerny have all done really good parts in a film, whereas I've only ever done bits and bobs? Before I die, wouldn't it be nice to be the scheming old man in a movie?
When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
There are a million people who can come up with little bits. The hard work is making those bits into something.
... a canvas that I have covered is worth more than a blank canvas. My pretensions go no further; that is my right to paint, my reason for painting.
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