A Quote by Wynn Bullock

A thing is not what you say it is or what you photograph it to be or what you paint it to be or what you sculpt it to be. Words, photographs, paintings, and sculptures are symbols of what you see, think, and feel things to be, but they are not the things themselves.
Saudi Arabia is so conservative. At first there were photographs of women I took that I couldn't publish - of women without their abayas. So I started writing out little anecdotes about things I couldn't photograph and wove it in with a more obscure picture and called it "moments that got away". I realised these worked as well as the photographs by themselves. There are a lot of photographers who feel the story is all in the photographs but I really believe in weaving in complementary words with the pictures.
Any photograph has multiple meanings: indeed, to see something in the form of a photograph is to encounter a potential object of fascination. The ultimate wisdom of the photographic image is to say: “There is the surface. Now think – or rather feel, intuit – what is beyond it, what the reality must be like if it looks this way.’ Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation, and fantasy
I don't paint over my paintings with black paint. I paint black paintings. It isn't because I'm sad, just as I didn't paint red paintings yesterday because I was happy. Nor will I paint yellow paintings tomorrow because I'm jealous.
I think I’ve said this before many times—that photography allows you to learn to look and see. You begin to see things you had never paid any attention to. And as you photograph, one of the benefits is that the world becomes a much richer, juicier, visual place. Sometimes it is almost unbearable — it is too interesting. And it isn’t always just the photos you take that matters. It is looking at the world and seeing things that you never photograph that could be photographs if you had the energy to keep taking pictures every second of your life.
I paint what cannot be photographed, something from the imagination... I photograph the things I don't want to paint, things that are already in existence.
School and things that painters have taught me even keep me from painting as I want to. I decided I was a very stupid fool not to be at least paint as I wanted to and say what I wanted to when I painted as that seemed to be the only thing I could do that didn't concern anybody but myself. I found that I could say things with colour and shapes that I couldn't say in any other way things that I had no words for.
It isn't an easy job to paint oneself - at any rate if it is to be different from a photograph. And you see - this, in my opinion, is the advantage that impressionism possesses over all the other things; it is not banal, and one seeks after a deeper resemblance than the photograph.
One of the things my career as an artist might say to young artists is: The things that are close to you are the things you can photograph the best. And unless you photograph what you love, you are not going to make good art.
I've always felt like an artistic person. I can't draw or paint or sculpt. I never really had technical skills, but I've always felt like I appreciate really beautiful things, and part of taking a good photograph is being able to recognize beauty.
I paint and I sculpt and I enjoy doing things that aren't for the public. There's no pressure to it, it's just something that's a cleansing of the mind.
A book is a physical object in a world of physical objects. It is a set of dead symbols. And then the right reader comes along, and the words—or rather the poetry behind the words, for the words themselves are mere symbols—spring to life, and we have a resurrection of the word.
I photograph the things that I do not wish to paint, the things which already have an existence.
Shape and color are my two strong things. And by doing this, drawing plants has always led me into my paintings and my sculptures.
A photograph can make you feel so many different things. When you look at war photographs of Vietnam, or something similar, it makes you feel anguish and sadness and pain. Then in other moments, when you look at Jackie Kennedy walking down Fifth Avenue, that makes you feel glory and richness.
I have an idea of a set of colors and see what I have. A lot of things, the best, more magical things in the paintings just sort of happen. They aren't things I thought of in advance. They are more things I am given. What paint does, in watercolor more than oil but it happens in oil too, are things one never expects if you work freely. I suppose I learned a lot coming to this after years of playing improvisational music. I have to trust my intuition and I work in the moment, when that moment seems to be happening. And to leave it alone when it is not.
All photographs are there to remind us of what we forget. In this - as in other ways - they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.
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