A Quote by Edward Ruscha
When you're on a highway, viewing the western U.S. with the mountains and the flatness and the desert and all that, it's very much like my paintings.
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L.A. as a geographical entity is very much a mixture of surf, desert, and the mountains, earthquakes and urban sprawl. Within an hour of driving, you can be out into the desert. I like that very much about living on the edge of a continent, conceptually is an interesting place to be. You're at this kind of juncture of a tectonic plate. The idea that the Pacific Ocean is right behind us, on a macro scale, is an interesting place to be.
The knowledge that refuge is available, when and if needed, makes the silent inferno of the desert more easily bearable. Mountains complement desert as desert complements city, as wilderness complements and completes civilization.
I'm working on a very long series of paintings based on desert folklore.
Before practicing meditation, we see that mountains are mountains. When we start to practice, we see that mountains are no longer mountains. After practicing a while, we see that mountains are again mountains. Now the mountains are very free. Our mind is still with the mountains, but it is no longer bound to anything.
If you look at ancient Chinese paintings, you see mountains, but they are not real mountains; it is something the artists imagined.
I really like Los Angeles. I like the weather, the openness of it, the beach, the mountains, the desert. I find it inspiring. I get quite a lot of writing done out there.
There was a windstorm in L.A., and the morning after there was no smog, and I could see the mountains. And I was like... 'There's mountains? Snowcap mountains?' That's insane; I've been there for thirteen years, and I've never seen that view before, seeing the mountains in the distance.
The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, 'let's get on to the Botticellis as soon as possible.' I have lingered, of course.
There are places I don't want to go. Making movies on tops of mountains, in the desert, playing scenes while icy torrents of rivers rush by. The jungle. It's very uncomfortable.
I always thought that people who live in the desert are a little crazy. It could be that the desert attracts that kind of person, or that after living there, you become that. It doesn't make much difference. But now I've done my 40 years in the desert.
Before I had studied Zen for thirty years,
I saw mountains as mountains,
and waters as waters.
When I arrived at a more intimate knowledge, I came to the point where I saw that mountains are not mountains,
and waters are not waters.
But now that I have got its very substance
I am at rest.
For it's just that
I see mountains once again as mountains,
and waters once again as waters.
Usually, you lose interest in a story beyond a certain point. But with 'Highway,' there was something very subtle, yet something very influential. I intended 'Highway' to be the first film that I ever made. Didn't happen.
The reason why I always wanted to make an American film was because of the Western genre. It is something that I would very much like to make in the future, because it's very uniquely American, and I can't make a Western film in Korean.
Usually, you lose interest in a story beyond a certain point. But with Highway, there was something very subtle, yet something very influential. I intended Highway to be the first film that I ever made. Didnt happen.
Within two hours of where I live, you have mountains and desert as location. I like the natural elements that abstract into light, texture, shape and shadow.
Paintings, like dreams, have a life of their own and I have always painted very much the way I dream.
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