I remain interested in the potential of art, except I've always been more struck by applied modernism than high modernism. It's partly because of feminist theory and being brought up in the '70s, with questioning who is speaking, and why, and what authority they're carrying.
Modernism was a big thing for me, coming from a father who was very interested in art, music and culture - and almost always Italian art, music and culture. One good thing about Italians is that culture is part of everyday life. But Modernism is a movement of the past. The idea of a Modernist building as a sculpture set on a pedestal of grass is a part of Modernism that I'm not so crazy about.
Most artists, or at least most of the ones I know, deny having a philosophical outlook that they try to translate into their works. Some had thought of the work of Cezanne and others as being a 'painted epistemology.' But Cezanne himself denied this and Daniel-Henri Kahnwiler, the art critic and art dealer, insisted that none of the many painters he had known had a philosophical culture.
I didn't do so well in the academic world, so I think the only way I could express myself was through visual art - anything I could get my hands on, whether it was glassblowing, sculpture, painting, or photography. I always wanted to be a painter. Or a farmer.
The painter I really thought I could learn from was Cezanne - some sort of resemblance to oranges and greens and browns of the dry season in St. Lucia.
It is not possible to overstate the influence of Paul Cezanne on twentieth-century art. He's the modern Giotto, someone who shattered one kind of picture-making and invented a new one that the world followed.
My real background was in art studies. At the beginning I was a painter, then I was this graphic designer, then I became an illustrator, then I was a comic artist. But for me it's a different way of expression, a different field of art. They're not separated; everything for me is related.
Cezanne had an enormous influence on everyone in that period; there was a change in attitudes to art. People found him disturbing because they didn't like their existing ideas being challenged and overturned. Cezanne was probably the key figure in my lifetime.
At that point, I sat down and made an alphabetical list of all the crime related words I could think of. So here I am now, nearly half-way through, probably tied up until the year 2015 or SO.
Every painter must traverse for himself that distance from Paris to Aix (where Paul Cézanne worked a lot, fh) or from Venice to Toledo (where El Greco painted a lot, fh). Expression is for one knowing its own pivot. Every expressor relates solely to himself - that is the concern of the individualist.
The entire world of art has reached such a low level, it has been commercialized to such a degree that art and everything related to it has become one of the most trivial activities of our epoch.
There were no museums or galleries in Shanghai, but I was very keen on art - I was always sketching and copying, and sometimes I think that my whole career as a writer has been the substitute work of an unfulfilled painter.
Whatever Paul Giamatti plays, Paul Heyman could also read for it.
With the education I had, all I could do was work as a burro, in whatever I could find: shoeshine boy, janitor, dishwasher, waiter, bartender, cashier, bricklayer, painter.
Realistic, naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art.
I went to art high school and thought I'd be a painter. Unfortunately I didn't finish high school, but that's always been part of my work.