A Quote by Caio Fonseca

People see so many things in the paintings. Although I never think of them, it charms me a little bit that people actually project actual scenarios on to the paintings. Hopefully that means that they have a little bit of life to them. Figuring out the rhythm, the structural element has been the key thing in this work, more than the color element. It really was the variety of different widths that lead to a certain movement, a rhythm. Otherwise I'd fall into anything that was too stripy or almost like bar codes, and it thwarted the natural flow of the painting.
I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.
I've been playing piano my whole life but I'd never tried to understand how compositions are made really. Try to imagine if you'd loved paintings your whole life but had never painted one. My aspiration now is just to understand. I don't have professional pretensions. I've learned so much. So many things I've been doing in the visual, two-dimensional painting world parallel many of the inner working of music - how intervals resolve into each other, harmonic rhythm, tonal things - there's a whole vocabulary that overlaps. Sometimes people see pianos in my works - that I never think.
When I talk about feminism and what I think the women's movement needs more of, it's not to detract from anything going on - I think everything going on is fantastic - but there's this missing element. I think we could learn from our detractors a little bit because I feel like they have a plan, a better understanding of things than we necessarily do. You can't change things if you don't understand the other people involved. And if you don't understand yourself, you'll never change.
A lot of what I do is about being in the moment and I think that's hard for people to get. I like it when things suddenly affect the painting. I mix up this red and it affects the whole painting or this little bit of white falls down there, and something changes the whole nature of the thing. The residue on what happens, that's what's in the paintings.
My paintings have gotten to be pretty popular and I've taken a little bit more interest in painting the last few years. In fact, my novel that I wrote not too long ago, 'The Hornet's Nest,' I painted the cover picture for it and I do a good bit of painting now.
I'm a bit of an abstract figure that people can project their fantasies on; it's pretty much what we all are, otherwise we wouldn't be stars, and people wouldn't be interested. But people project things on you that have nothing to do with what you really are, or they see a little something and then exaggerate it. And you can't really control that.
I try to write things that can't be made into movies. My novels have thwarted many attempts to film them and I think that was true of the essay, too. If you'd actually tried to be true to the essay, it would have been, perhaps, boring. So taking that narrow little cast of characters and expanding it out, that was what was exciting about the project for me.
I think on some level, all of us have a little bit of belief in the possibility of different energies and forces and things like that. Otherwise, we wouldn't be afraid of them. Or there wouldn't be so many movies about them.
It's very nice to do a little bit of the darkness after a little bit of the lightness. Variety is the spice of life. I enjoy both, and hopefully, I will be able to do as big a variety as I possibly can.
From the get-go, I was wise enough to say, 'Well, I'm playing rhythm 'cause Angus could really soar with the leads.' I used to mess around a little bit with lead at the time but not much; Angus, he was just so much better; he just went for it, and it was brilliant. My place was sitting with rhythm, and I love rhythm. I've always loved it.
I've been one of those people that hold on to a little bit more stress than others. People take certain situations a little bit differently.
Young people are tremendously frustrated because they don't see politics as changing anything. They see it as perpetuating a system that frankly doesn't work and no matter who you vote for things don't really change. Social media is where I think a bold message will wake them up. We saw that a little bit in the Occupy movement. Over the next three years, I think young people are going to wake up and be empowered.
I don't really know too many designers. I like a lot of what Kanye West has done with Yeezy, but I think it's a bit too, how you say, elevated; it's a little bit too special. Like he's trying to make something that's kind of a little bit too cool sometimes.
Painting from life was incredibly important for me because it allowed me to train my eyes to see everything that is there. But I realized early on that painting from life wasn't something that I was all that invested in. I was always more interested in the painting than I was the people. For me, removing that as a compulsion offered me a lot more freedom to actually paint and think about color, form, movement, and light.
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.
There are different 'It' factors for different players. There are all kinds of different personalities of quarterbacks around the league, but there are a lot of good ones and they don't necessarily think and act alike. But I do think there are moments during games even on the collegiate level where you can see that this guys is something different, someone sees things differently, they see things a little bit quicker, they're a little bit more cognizant of what's going on. I think it's something like that.
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