A Quote by Ellsworth Kelly

I said, I don't want to paint things like Picasso's women and Matisse's odalisques lying on couches with pillows. I don't want to paint people. I want to paint something I have never seen before. I don't want to make what I'm looking at. I want the fragments.
I could never really imagine myself doing one thing, and I'm pretty sure that I'll end up doing four or five different things. I want to be a Renaissance woman. I want to paint, and I want to write, and I want to act, and I want to just do everything.
My sin as a painter is that I just want to paint anything I want to paint - and repaint.
If I were a painter, I would paint beautiful bodies - I would paint nipples, and I would paint Bibles. Am I going to say, 'I'm not going to paint this woman's neck because people will think I just want to lick on necks?' Please! That's not what art is about.
I paint what cannot be photographed, something from the imagination... I photograph the things I don't want to paint, things that are already in existence.
I want to be a Renaissance woman. I want to paint, and I want to write, and I want to act, and I want to just do everything.
I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to - because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting.
Sure, I can talk like you, but I choose not to, It's like an art, you know? Picasso had to prove to the world he could paint the right way, before he goes putting both eyes on the side of a face... See if you paint wrong because that's the best you can do, you just a chump. But you do it because you want to? Then you're an artist...You can take that to the grave and dig it up when you need it.
I want paint to work as flesh... my portraits to be of the people, not like them. Not having a look of the sitter, being them ... As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
We lived in my father's studio, so there were the brushes and the pencils and the paint. So it would - it was very natural for me to want to paint, I think, and it was never a question.
Being behind the camera you have control; you have the ability to make decisions for characters, for where the story line's going to go, how you want to put it out there, how you want to edit it. Acting is like where you paint on the canvas, and being behind the camera is like being either the paint or the paintbrush. They're both a part of the creative process, it's just that they have two different functions.
I can't live where I want to, I can't go where I want to go, I can't do what I want to, I can't even say what I want to. I decided I was a very stupid fool not to at least paint as I wanted to.
Iranian parents can't stop their children. They're just wild - they want to party, they want their rights, they want to paint, they want to dance. No one can stop these new generations coming. That's why Iran has to open up: it's like a pot full of hot water, vapour and steam.
The way I paint, the scale of the information in the images which I want to paint demand space.
I can't paint the way they want me to paint and they know that too.
No small dabs of colour - you want plenty of paint to paint with.
You want to know how to paint a perfect painting? It's easy. Make yourself perfect and then just paint naturally.
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