A Quote by Alice Neel
I know all the theory of everything but when I paint I don't think of anything except the subject and me.
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I had two passions when I was a child. First was to learn about Einstein's theory and help to complete his dream of a unified theory of everything. That's my day job. I work in something called string theory. I'm one of the founders of the subject. We hope to complete Einstein's dream of a theory of everything.
I think it laughable, frankly, that the physics community comes up with a theory for everything. There isn't one theory for everything. There is not one explanation. We may eventually have several theories that can tie things together nicely but there is not a single theory of everything.
Photography has almost no reality; it is almost a hundred per cent picture. And painting always has reality: you can touch the paint; it has presence; but it always yields a picture - no matter whether good or bad. That's all the theory. It's no good. I once took some small photographs and then smeared them with paint. That partly resolved the problem, and it's really good - better than anything I could ever say on the subject.
I think we're in an age where artists really have an incredible range of materials at their command now. They can use almost anything from household items - Jackson Pollock used house paint - to, you know, advanced computer systems, to good old oil paint and acrylic paint.
I can negate everything of that part of me that lives on vague nostalgias, except this desire for unity, this longing to solve, this need for clarity and cohesion. I can refute everything in this world surrounding me that offends or enraptures me, except this chaos, this sovereign chance and this divine equivalence which springs from anarchy. I don't know whether this world has meaning that transcends it. But I know that I do not know that meaning and that it is impossible for me just now to know it. What can a meaning outside my condition mean to me? I can understand only in human terms.
The Chinese have a theory that you pass through boredom into fascination and I think it's true. I would never choose a subject for what it means to me or what I think about it. You've just got to choose a subject - and what you feel about it, what it means, begins to unfold if you just plain choose a subject and do it enough.
I paint a little and keep sketchbooks because it has the effect of preventing me becoming lazy about looking. The subject could be anything.
Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.
I don't like records that are the same from beginning to end, that are too styled and slick. Everything is so designed and airbrushed and Botoxed, it makes us think, 'Oh, everybody's perfect except me. Everything's smooth except me.' But nothing is smooth.
I'll get an inspiration and start painting; then I'll forget everything, everything except how things used to be and how to paint it so people will know how we used to live.
My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho '50s abstraction that allows paint to sit up on the surface as subject matter about paint.
I can't think of a subject that is taboo for me, unless it's one I simply don't know anything about.
You paint what you know best; what you went through as a teenager and child. My world is the one I got to know in Medellin; I never paint anything else other than that.
Everything I paint is a portrait, whatever the subject.
The best reason to paint is that there is no reason to paint... I'd like to pretend that I've never seen anything, never read anything, never heard anything... and then make something... Every time I make something I think about the people who are going to see it and every time I see something, I think about the person who made it... Nothing is important... so everything is important.
Everything is a subject; the subject is yourself. It is within yourself that you must look and not around you... The greatest happiness is to reveal it to others, to study oneself, to paint oneself continually in [one's] work.
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