A Quote by Cecily Brown
Often, I find it really hard to see what I'm doing when I'm in the thick of things. I can get too precious and have to force myself to put my paintings aside. There's a wall in my studio where I hang paintings that I think are done or nearly done. Over time, I'll realise which ones are working and which aren't.
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I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall.
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.
When I saw what painting had done in the last thirty years, what literature had done - people like Joyce and Virginia Woolf, Faulkner and Hemingway - in France we have Nathalie Sarraute - and paintings became so strongly contemporary while cinema was just following the path of theater. I have to do something which relates with my time, and in my time, we make things differently.
I'm truly blessed to be doing what I've always wanted - CREATE. I have found a freedom that is hard to put into words. I always wondered about my projects - which artists are working on what, and which directions should I take? I don't even think of those things now. I passionately go into my studio and ask myself, what would I like to create today?
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
The museum is full of interesting things. All kinds of paintings are there. And then paintings too thick to put in a frame, that they call sculpture. And then there are spectators. with their scorecards, rooting for culture. And spectators of the spectators, looking for love's introduction. And art students taking notes. And old women trying to remember the past. And old men with too much to forget. And tourists, thinking that a museum represents a city. And loafers so poor, they study their soberness here.
The things to do are: the things that need doing: that you see need to be done, and that no one else seems to see need to be done. Then you will conceive your own way of doing that which needs to be done - that no one else has told you to do or how to do it. This will bring out the real you that often gets buried inside a character that has acquired a superficial array of behaviors induced or imposed by others on the individual.
We become so caught up in the busyness of our lives. Were we to step back, however, and take a good look at what we’re doing, we may find that we have immersed ourselves in the “thick of thin things.” In other words, too often we spend most of our time taking care of the things which do not really matter much at all in the grand scheme of things, neglecting those more important causes.
I don't approve of what Wall Street and the wealthy have done to this country, but they are the very ones buying my paintings.
If you look at the paintings that I love in art history, these are the paintings where great, powerful men are being celebrated on the big walls of museums throughout the world. What feels really strange is not to be able to see a reflection of myself in that world.
My writing and my paintings do not have a direct connection in my mind. But I am sure they influence each other in the measure that everything we do is linked to whatever we are, which includes whatever we have done or are doing.
If I physically made every work myself, I would get only one or two paintings done a year, if that.
I believe that 100, 200, 300 years from now, all these paintings will be around because they're the first paintings of humans doing things off this Earth.
I look at my paintings for a very long time before letting them out of my studio. I like to get on the treadmill and look around at all of my paintings while I exercise. I try to stare them down to make them reveal their weaknesses. If they reveal weaknesses, they get repainted.
I still have a lot of pleasure doing them, but as time goes by I come to appreciate more clearly which paintings are good and which should be discarded.
The paintings are not just on flat walls - you have these enormous niches, bulges and protrusions, as well as stalactites and stalagmites. The effect of the three-dimensionality is phenomenal. It's a real drama which the artists of the time understood, and they used it for the drama of their paintings.
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