A Quote by Florence Welch
I can't just have one painting - I need to cover the wall in paintings. It's the same with my music. I want to mix everything together to create more.
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The way I create music is maybe like a painting, to compose in a more visual way. Basically it's the music that I want to hear- that's my inspiration and bottom line. I just try to get ideas from books, movies, paintings.
I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall.
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.
I create music; I create painting; I create whatever I want to create. I create, what you say, clothes. I create, I don't know, dance move. I create anything.
My paintings have gotten to be pretty popular and I've taken a little bit more interest in painting the last few years. In fact, my novel that I wrote not too long ago, 'The Hornet's Nest,' I painted the cover picture for it and I do a good bit of painting now.
Every season, I absorb everything around m:, the people I see on the street, the discos, the art, the music, and the energy of places from my travels. I mix all of this together, and then I begin to create.
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 not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.
Without black, no color has any depth. But if you mix black with everything, suddenly there's shadow - no, not just shadow, but fullness. You've got to be willing to mix black into your palette if you want to create something that's real.
I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back.
The magazine business is dying. It's a hard time for publishing. It does seem that everyone is much more opinionated now. I think there's probably more room for making opinionated illustrations. There was a time when Time magazine and Newsweek would have a realistic painted cover. A friend of mine used to do a lot of those paintings and he was told by the art director at one point, we are switching to photography. It seems that if someone saw a painting on a cover, it took a while to do, it must be old news. Photography became more immediate.
A lot of what I do is about being in the moment and I think that's hard for people to get. I like it when things suddenly affect the painting. I mix up this red and it affects the whole painting or this little bit of white falls down there, and something changes the whole nature of the thing. The residue on what happens, that's what's in the paintings.
You have to like everything that you're painting. Maybe on a narrative level it seems harsh... but I like everything in all my paintings. It's as if you need to be less intelligent at that level.
Make a small painting of what you want to do... and project it up on a white wall... The enlarged version is so changed that there is no way of just visualizing it in the brain... It's a whole new dimension in painting.
I'm not trying to create an aesthetic that's my own; I'm trying to create a way understanding things through drawing and painting. That's the common thread. Things can look different, but that's not what's important. What's important is the process is the same, the ideas are the same, I'm using the same building blocks, but they're different. The larger framework is the same; it's the pieces that change. For me, it's about these different elements, but you're still fitting them together into sentences, words, paragraphs, and stories.
I've always been into music that was meshed together - not necessarily wall of sound stuff but music where you get duelling guitars and weird harmonics by putting things together, and you might not even know what's playing - it could be four or five instruments doing the same thing, and it's this strange concoction.
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