A Quote by Abe Ajay
Collage-making, for me, is basically an act of painting, allowing me to indulge in an appetite for immediacy.
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Evil is an act, not an appetite. How many haven't wanted to slash the throat of some boor across the dining room table? Present company excepted of course. Everyone has the appetite. If you give in to it, it, that act is evil. The appetite is normal.
What interested me in film was the image-making aspect of it. So, I went to school in cinematography. I was really convinced that image was what I wanted to do, and I think it came from the fact that I lived in a small town my whole life, but my mother was very interested in painting, so she would bring us to Paris for two weeks. So, we're going to the Louvre and to the museums and to see shows. In the evening we were seeing theater. Painting is basically what led me. I think the image was key.
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
Television is becoming a collage - there are so many channels that you move through them making a collage yourself. In that sense, everyone sees something a bit different.
When I was younger, I used to say, 'I'm not making music. I am getting catharsis for emotion.' For me, vulnerability is an act of uncovering. It's a revealing: the idea of putting aside your armour and allowing pain to enter.
It is true I gained muscular vigour, but with it a prodigious appetite, which I was compelled to indulge, and consequently increased in weight, until my kind old friend advised me to forsake the exercise.
The photo collage is a way to travel that must be used with skill and precision if we are to arrive... The collage as a flexible hieroglyph language of juxtaposition: A collage makes a statement.
I think that running a studio gave me an appetite for making a lot of different kinds of movies and it's given me the opportunity to do that.
People constantly describe me as a formalist or even a minimalist, but I'm not really bothered with the rules of painting or the history of painting. My approach is that everything is mine. I take what I can use from wherever, and then I forget where I've taken it from. But there is no point me making anything that looks like anyone else's.
Painting is like breathing to me. It’s what I do all the time. Every day I make art, whether it is painting, writing or making a movie.
Someone told me once - I mean I said, "Is it ok that I don't really know what the three-act structure is?" And he said, "It's basically: Act 1: a guy climbs up a tree; Act 2: people come and throw stuff at him; Act 3: he gets down."
The cartooning was always just an abstraction. It was an income. It was making me famous. It was allowing me to go and do other things that I'd wanted to do.
You hear the best stories from ordinary people. That sense of immediacy is more real to me than a lot of writerly, literary-type crafted stories. I want that immediacy when I read a novel.
My first job ever, I was 14 years old - I was working at this mom-and-pop video store, and they basically paid me by allowing me to take home as many movies as I wanted, and that's how I started watching all the classics and really getting into it.
If I go to the National Gallery and I look at one of the great paintings that excite me there, it's not so much the painting that excites me as that the painting unlocks all kinds of valves of sensation within me which return me to life more violently.
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.
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