A Quote by Siri Hustvedt

Every painting is always two paintings: The one you see, and the one you remember. — © Siri Hustvedt
Every painting is always two paintings: The one you see, and the one you remember.
I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall.
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
I'm not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.
I would never put a sculpture in front of a painting, so that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work.
Each painting is its own world, but a lot of times I do see the paintings as one page from a story. You can imagine what has happened before or after. Sometimes they are worded as being a part of a story, especially the paintings where characters are in conversation.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
I have two paintings that used to belong to my grandmother, who lived in Chicago. When I was young, I used to sleep over at her house. They came to me when she passed away. I remember looking at them when I was a girl, and now, every time I see them, I feel good.
I had always loved expressionist painting, like every European. In fact I admired it all the more because these were precisely the paintings despised by my father's generation.
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.
No one who looks at my paintings can see whether a painting is upside down or not anymore. I've made or developed so many image models that some people have given up trying to keep track of me. But others have only one or two ways of doing things and are successful with that.
I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back.
Only when the habit of one's consciousness to see in paintings bits of nature, madonnas and shameless nudes... has disappeared, shall we see a pure painting composition.
There could be a hundred paintings in every one painting, depending on when you stop.
Every painting I've ever done has like 100 paintings under it.
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