A Quote by Ferran Adria

Could you imagine people eating a painting - if they could introduce a painting into their bodies? It's probably the artist's dream, and we have the opportunity to do so. — © Ferran Adria
Could you imagine people eating a painting - if they could introduce a painting into their bodies? It's probably the artist's dream, and we have the opportunity to do so.
Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.
life's kind of like a painting. A really bizarre, abstract painting. You could look at it and think that all it is, is a blur. And you could continue living your life thinking that all it is, is just a blur. But if you really look at it, really see it, focus on it, and use your imagination, life can become so much more. The painting could be of the sea, the sky, people,buildings, a butterfly on a flower, or anything except the blur you were once convinced it was.
Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
I was always interested in drawing and painting. I enrolled in college to study painting. But I didn't have any livelihood when I graduated. My mother died very young, and I didn't have any home, so I had to find a way to earn a living. It seemed to me that photography - to the great disappointment, I have to say, of my painting teacher - could offer that. So I went and did a degree in photography, and then after that I could go out and get paid for work. For portraits, things like that.
I don't like getting out when I could be painting. And when I'm painting, I don't want anybody else around.
When I was doing just the underwater, I don't think people could relate to it at first. Then I added the land, which was a painting called, Two Worlds. For some reason that particular painting gave people something to hold onto.
I realized that most people waste their lives earning a living, and I wanted to live. I love painting, so I keep painting. That's how I became an artist.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
I'm kind of an insecure artist. I hop from piece to piece. I always think my life depends on every painting. Every painting is my first painting.
I do have a dream, a painting, the baths of La Grenouillere for which I've done a few bad rough sketches, but it is a dream. Renoir, who has just spent two months here, also wants to do this 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 could have been an artist painting pictures and I would have fell in love with Oakland.
Comedy is the one absolutely self-aware art form. Actually, hip-hop's another one, I suppose. Because in your songs you're talking about how good a hip-hop artist you are. It's like a painter painting a panting of himself painting a painting.
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.
Photography brought a lot to painting because it forced artists to think about what painting could do that photography couldn't.
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