A Quote by Chuck Close

I think I was driven to paint portraits to commit images of friends and family to memory. I have face blindness, and once a face is flattened out, I can remember it better.
Some people say they use images to help them remember intricacies. Others say they just remember. If they are able to form an image of the face, it is because they remember how it was: it is not that an image guides memory, but that memory produces an image, or the sense of imaging. We have no agreed way to talk clearly about such things.
Contemplation is a very dangerous activity. It not only brings us face to face with God. It brings us, as well, face to face with the world, face to face with the self. And then, of course, something must be done. Nothing stays the same once we have found the God within…. We carry the world in our hearts: the oppression of all peoples, the suffering of our friends, the burdens of our enemies, the raping of the Earth, the hunger of the starving, the joy of every laughing child.
Surfing the web often comes at the cost of face-to-face time with friends and family.
I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.
We’re face to face with images all the time in a way that we never have been before... Young people need to understand that not all images are there to be consumed like fast food and then forgotten – we need to educate them to understand the difference between moving images that engage their humanity and their intelligence, and moving images that are just selling them something.
There is something miraculous in the way the years wash away your evidence, first you, then your friends and family, then the descendants who remember your face, until you aren’t even a memory, you’re only carbon, no greater than your atoms, and time will divide them as well.
As time passes by and you look at portraits, the people come back to you like a silent echo. A photograph is a vestige of a face, a face in transit. Photography has something to do with death. It's a trace.
I know a girl who just looks at her face in the medicine cabinet mirror and never looks below her shoulders, and she's four or five hundred pounds but she doesn't see all that, she just sees a beautiful face and therefore she thinks she's a beauty. And therefore, I think she's a beauty, too, because I usually accept people on the basis of their self-images, because their self-images have more to do with the way they think than their objective-images do.
When I look at someone's face, I look beyond that face and into the cellular memory in my heart that says, 'Finally you and I have met again. And now we must find out why'.
I hear poets complaining: 'We face what our forebears did not face. We face TV. We face radio. We face this and that.'
And there's no better way to thaw a face, as it turns out, than with another face.
I am in love with life. I think it's pretty awesome when you are engaged in it. I love my family and my friends, and that to me is the biggest...that's the love of my life are my friends and family and the experience that I get to share with them. It puts a smile on my face and in my heart.
A will to be unkind is like a sickness. It can be healed or driven out. But to be unkind because you are thoughtless is the worst kind of blindness: difficult to cure, because you cannot see the fault even as you commit it.
Sometimes I lie awake at night and think about that little red-haired girl... I don't ever want to forget her face, but if I don't forget her face, I'll go crazy... How can I remember the face I can't forget? Suddenly I'm writing country western music!
I have a poor memory for names; but I seldom remember a face.
Are we to paint what's on the face, what's inside the face, or what's behind it?
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