A Quote by Gavin Hood
The question I ask myself when adapting a book is how do I be true to the spirit and soul of the character? How would I describe this character in my medium? If you asked one person to do a painting of something and another to create a sculpture of it, you'll never ask, 'Why doesn't the painting look like the sculpture?'
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That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!
After painting comes Sculpture, a very noble art, but one that does not in the execution require the same supreme ingenuity as the art of painting, since in two most important and difficult particulars, in foreshortening and in light and shade, for which the painter has to invent a process, sculpture is helped by nature. Moreover, Sculpture does not imitate color which the painter takes pains to attune so that the shadows accompany the lights.
I always want to do music that inspires or influences another generation. You want what you create to live, be it sculpture or painting or music. Like Michelangelo, he said, “I know the creator will go, but his work survives. That is why to escape death, I attempt to bind my soul to my work.
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.
I would never put a sculpture in front of a painting, so that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work.
Sculpture is something you bump into when you back up to look at a painting.
I started doing sculpture rather than painting. I was halfway through my degree, and I hadn't really done any introduction courses in sculpture... I'd missed all the technical stuff. I didn't really know how to weld or forge or carve or model. I'd sort of evaded all those technique classes, so I had no technique.
If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
Most of the time I ask, "Why have I forsaken God?" I look at myself and ask that question when probably the better question is to say, "Where are you God, and I'll let you in." Instead of thinking that you've abandoned God, push yourself in the other direction like, "God, how can I get closer?"
For me, architecture is an art the same as painting is an art or sculpture is an art. Yet, architecture moves a step beyond painting and sculpture because it is more than using materials. Architecture responds to functional outputs and environmental factors. Yet, fundamentally, it is important for me to stress the art in architecture to bring harmony.
There's a spectrum of possibilities. You can underline the bass, or not at all. You can create something that is well-anchored or that is floating and never arriving. You can make a melodic line dominant or barely visible. The conducting gesture is akin to painting or sculpture.
Sculpture is for the touch, painting is for the eye. I wanted to make a sculpture for the eye and a painting for the touch.
I really don't have a theme when I start a sculpture. The rock guides me to the final sculpture. I think that is true for many creative sculpture artists.
Do not ask the stones or the trees how to live, they can not tell you ; they do not have tongues; do not ask the wise man how to live for, if he knows , he will know he cannot tell you; if you would learn how to live , do not ask the question; its answer is not in the question but in the answer, which is not in words; do not ask how to live, but, instead, proceed to do so.
Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit which it has lost as salon art. Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith.
Over the past two decades, the boundary between photography and other media like painting, sculpture, or performance has become increasingly porous. It would seem that each medium has absorbed the other, leaving the photographic residing everywhere, but nowhere in particular.
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