A Quote by Damien Hirst
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
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I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting.
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
Comedy is the one absolutely self-aware art form. Actually, hip-hop's another one, I suppose. Because in your songs you're talking about how good a hip-hop artist you are. It's like a painter painting a panting of himself painting a painting.
It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.
I do have great respect for painting, but I am definitely not a painter. I make drawings of paintings, and I'm jealous of painting for sure, but, for me, the paper gives my work a limit.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.
I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I thought it was going to, and in fact I made, while still in school, a plate with one of my paintings on it, and that's exactly what it was, it was a plate with a painting on it. It was not a decorated plate; it was just a painting superimposed over a three-dimensional ceramic form.
When you talk about painters and you talk about painters painting masterpieces, there is no painter who painted only one painting and that was a masterpiece. You have to do a whole bunch of paintings to get to the place of mastering your craft.
I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong.
I have always been a fan of Salvador Dali, but Amrita Sher-Gil, who was an Indian-Hungarian painter, is another favourite. She was painting Indian women, and, growing up here, I'd never seen anyone paint Indian women, so that was really incredible to see a painting of someone who looks like you. I think that has a lot of impact on you.
I was at an art museum with my parents, and was quite taken with a [Vincent] Van Gogh painting. I stood admiring the painting for some time, and then realized that in addition to feeling moved by the beauty of the painting, I felt a little jealous of the painter.
I'm kind of an insecure artist. I hop from piece to piece. I always think my life depends on every painting. Every painting is my first painting.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
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