A Quote by Douglas Lockwood
I am the thing that I am painting at the time of painting.
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When I look at a painting it isn't only the painting I see but the thing that I am. If there is more in the painting that I am, then I won't see it.
I am painting with the same enthusiasm as a Marseillaise eats bouillabaisse ... I am painting big sunflowers.
I am after painting reality impressed on the mind so hard that it returns as a dream, but I am not after painting dreams as such, or fantasy.
When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
I wish to have no status as a man. I am equally content to be a worm or a rat, and am only glad that I am not becuase they have such a rough time without the pleasure of painting.
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.
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.
Your poems are rather hard to understand, whereas your paintings are so easy. Easy? Of course - you paint flowers and girls and sunsets; things that everybody understands. I never met him. Who? Everybody. Did you ever hear of nonrepresentational painting? I am. Pardon me? I am a painter, and painting is nonrepresentational. Not all painting. No: housepainting is representational. And what does a housepainter represent? Ten dollars an hour. In other words, you don't want to be serious - It takes two to be serious.
Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear... making itself, the image taking hold. This in turn moves me toward painting - anxious to get to the same place, with the actuality of paint and light.
When I am finishing a picture, I hold some God-made object up to it - a rock, a flower, the branch of a tree or my hand - as a final test. If the painting stands up beside a thing man cannot make, the painting is authentic. If there's a clash between the two, it's bad art.
When I am working on a painting, everything that I am thinking about at the time - be it current events, the books I am reading, personal events, influences, emotions, etc. - all find their way into my work.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
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.
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 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.
On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.
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