A Quote by Cai Guo-Qiang

My father was also a painter - actually, a traditional Chinese painter. His personality is pretty timid and cautious. Like him, I was growing up as a cautious kid. — © Cai Guo-Qiang
My father was also a painter - actually, a traditional Chinese painter. His personality is pretty timid and cautious. Like him, I was growing up as a cautious kid.
Growing up, my mom was a painter, my best friend was a painter, my husband is a painter. For a long time I knew artists, and I didn't know any writers.
When I was growing up, I wanted to be a house painter like my father, but I was always screwing up when I went to work with him. I had a talent for knocking over paint and painting myself into corners. I also realized fairly quickly that painting bored me.
In traditional Asian arts, the word and the picture always sit next to each other. I have an aunt, a Chinese brush painter, who told me that when you do a Chinese brush painting, you have to pair the image up with some poetry.
I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.
Painting can also be too earnest at times and that's a drag. You don't want to go in that direction either. It should be holistic. It should represent the whole of your personality, I guess, so if somebody is a sincere painter or an ironic painter, then they're just bullshitting the audience and presenting only an idealized version of themselves.
Language-wise, my mom and dad's dialect, they're pretty obscure. It's Chinese, but not your traditional Chinese, like Cantonese or Mandarin. It wasn't something that I got to use very much growing up. We eventually just spoke English around the house.
I was never a doodler. I had never felt a drive to draw... Actually when I was a kid, I really hated art classes. My father was a kind of a Sunday painter and he liked to draw and do water colors. So, I would bring him my assignment and he would do them for me, because it was easy for him to do.
I am obsessed with the painter Jonas Wood, but I don't think I'll ever be able to afford one of his paintings. He's an L.A.-based painter; his stuff is incredible.
It is all very well to be cautious, but if we are too cautious we will miss our opportunity.
Everyone has his own reality in which, if one is not too cautious, timid or frightened, one swims. This is the only reality there is.
When I was young, the constraints of Chinese society and my personal timid and cautious nature both drove me to seek a means to go against control. Gunpowder has an inherent uncertainty and uncontrollability and is an important means for me to relieve myself of constraint.
My father, a ruined dandy from the South, had been reduced to keeping a small harness-repair shop and, when that failed, he became ostensibly a house-and-barn painter. However, he did not call himself a house-painter. The idea was not flashy enough for him. He called himself a "sign-writer.
By the single example of this painter devoted to his art with such independence, my destiny as a painter opened out to me.
A painter told me that nobody could draw a tree without in some sort becoming a tree; or draw a child by studying the outlines of its form merely but by watching for a time his motions and plays, the painter enters into his nature and can then draw him at every attitude.
If ever a painter wrought a miracle of illusion with brush and pigment that painter was Velazquez in his Las Meninas, at the Prado in Madrid.
I wanted to be a painter, really, when I was growing up as a kid. It was one thing that really took a grip on me.
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