A Quote by Damien Hirst
I gave up painting by 16. I secretly thought I would have been Rembrandt by then.
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Art is not made only one way, art is a point of view? Rembrandt in our days would be Rembrandt again, because the work of the master is his self. But in order to be Rembrandt in ourdayshe would have used new ways that would give a new culture.
I inherited a painting and a violin which turned out to be a Rembrandt and a Stradivarius. Unfortunately, Rembrandt made lousy violins and Stradivarius was a terrible painter.
I think we seem to remember things in still pictures. I never gave up on painting. When they said painting was dead, I just thought, Well, that's all about photography, and photography's not that interesting, and it's changing anyway.
You have weak artificial intelligence, which is a robot or a computer system that follows a list of protocols and it's like yes/no answers that can be as complex as you want, and then you have strong A.I., which is basically like a human, like something that can think up a thought that's never been thought up or paint a painting or write a poem.
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
I sit for two or three hours and then in 15 minutes I can do a painting, but that's part of it. You have to get ready and decide to jump up and do it; you build yourself up psychologically, and so painting has no time for brush. Brush is boring, you give it and all of a sudden it's dry, you have to go. Before you cut the thought, you know?
I don't think there's an illustrator who's as good as a Titian or a Rembrandt... but then, Rembrandt was a bit of an illustrator on the quiet, you know?
One colleague who's been in the industry longer than I had been gave me a valuable piece of advice. "Stay close to the facts and observe things fully and report. Then you can be a mediocre journalist." I held onto his words when I worked and I've been following that advice for 16 years.
I thought it would be very nice to become Picasso or Rembrandt, or a van Gogh.
I read a comment [about me] on YouTube that I thought would upset me — ‘Test pilot for pies’ — but I’ve always been a size 14-16 and been fine with it. I would only lose weight if it affected my health or sex life, which it doesn’t.
I never want to abandon my roots. I want to give my past and the history of painting the importance it deserves, including the masters like Rembrandt, who built up the surface of the canvas with transparent layers.
A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.
She disapproved, but part of her seemed secretly to sympathize with the sickness. It was like she thought everybody had it, and the best you could do was to cover it up, and sometimes it would just come boiling out anyway. Then you had to point at it and condemn it, even though you knew you had it too.
I would have liked to be - indeed, I should have been - a second Rembrandt.
I gave up language for a while, and I started painting.And then I only listened to Miles Davis and other instrumental music to see how it felt to be without words.
When I sign people's stuff I put down John 3:16 and 17. Most people can tell you what 16 says, OK. "For God so loved the world that He gave His only begotten son." But they don't know nothin' about 17. It says Jesus didn't come to condemn us. If anybody had a right to condemn someone, it would be the son of God. If he didn't do it, then hey, we definitely are not qualified to do it.
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