A Quote by Fernando Botero
My popularity has to do with the divorce between modern art, where everything is obscure, and the viewer who often feels he needs a professor to tell them whether it's good or not. I believe a painting has to talk directly to the viewer, with composition, color and design, without a professor to explain it.
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An exhibition is in many ways a series of conversations. Between the artist and viewer, curator and viewer, and between the works of art themselves. It clicks when an exhibition feels like it has answered some questions, and raised even more.
Art is the space between the viewer and the rectangle that hangs on the wall. Unless something of the person that created the work is there, there's nothing for the viewer to take away.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
I want art to affect the viewer and for the viewer to take it away to enhance, embrace, and elevate life. That's the spiritual aspect. Painting is a spiritual practice, but sometimes it is hard to give up control!
I believe all painting and art should be uplifting for the viewer.
In the past few months I've become religious, I've started to believe in god, creationism and intelligent design, and the reason that I now believe in god and creationism and intelligent design is because of Professor Richard Dawkins. Because when I look at something as complex and intricate and beautiful as Professor Richard Dawkins, I don't think that just could've evolved by chance! Professor Richard Dawkins was put there by god to test us, like fossils. And facts.
I look at graphic design as communication, meaning that the work has to have a vibe to connect to the viewer or perceiver. I make a black and white drawing and then add color digitally, bringing in a contemporary pattern to the composition to create a vibrance.
The question of painting is bound up with epistemology, with the engagement of the viewer, with what the viewer may learn.
What I never wanted in art - and why I probably didn't belong in art - was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don't know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.
With the artists, I don't teach, I coach. I can't tell them how to make art. I tell them to make more art. I tell them to get up early and stay up late. I tell them not to quit. I tell them if somebody else is already making their work. My job is to be current with the discourse and not be an asshole. That's all I wanted in a professor.
Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force.
I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.
I always like to believe that my work is about the expansion of the possibilities of the viewer. So if you have a sense of a heightened situation where there's an excitement, a physical excitement and an intellectual stimulation, there's just this sense of expansion. Because that's where the art happens. Inside the viewer.
You tell the big lie by carefully selecting only the small, isolated truths, linking them in such a way that that advance the bigger lie by painting a picture inside the viewer's head. The Ascended High Master of this Dark Art is Noam Chomsky.
A piece of art - this goes for a painting or a sculpture or a book or whatever - really shouldn't have to do with the set of expectations that the viewer or the audience or the reader brings to that work. It should just have to do with how they interpret it and whether they like it or not.
A lot of the pieces I've done over the years have involved alterations of scale and the idea of the viewer's relationship to the object and how we see things by either enlarging or reducing objects, it causes the viewer to look at them again. It's hard to do because our culture is so bombarded by images and media. How do you make something fresh for a viewer? That's a real challenge.
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