A Quote by Graham Elliot

I'm inspired by artists who use a limited palette, like painter Piet Mondrian, and the White Stripes, two musicians who create an incredible sound. Our food is starting to go back to a 'less is more' style.
I was a very hard-edged geometric painter, strongly influenced by [Piet] Mondrian and [Theo] van Doesburg and that sort of thing.
I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.
We take the star from Heaven, the red from our mother country, separating it by white stripes, thus showing that we have separated from her, and the white stripes shall go down to posterity representing liberty.
My hope is to create spaces where people of all stripes can come together and speak at a lower decibel level. We make more sense that way. We sound more like our real selves that way.
One time, just passing by, I happened to see Jack White from the White Stripes. I'm a huge White Stripes fan, and I did a whole 180. It was like my jaw hit the ground.
The best musicians or sound-artists are people who never considered themselves to be artists or musicians.
I had to find a way to paint abstractly, which is what I wanted to do. I couldn't forget Wassily Kandinsky and Kazimir Malevich and Piet Mondrian, I mean that was the basis.
What incredible arrogance to believe that we limited human beings can destroy that which we cannot even begin to understand - much less create on our own - and that is earth and all of its glories.
I like Rihanna's style a lot. I like how she pulls off this cool tomboy style. I get inspired by other models; I think their off-duty style is cool. I get inspired by new designers that I see on Instagram. It just depends. I get inspired by the '90s a lot, and I look back on old things.
The way 'Lux' was made is that there are 12 sections in here, though two of them are joined together. So there are really 11 sections, in a sense, and each one uses five notes out of a palette of seven notes, and my palette is all the white notes on the piano. That was the original palette.
It's either you finna create your own wave, you finna sound like me or you finna sound like G Herbo, you finna sound like Chance The Rapper, you finna sound like Juice Wrld. You ain't gonna get too far 'cause you sound like somebody. So, create your own lane and do your own style.
In the studio, it took me a long time to work out how to make paintings that had the intensity that I was able to create by painting whole rooms. There is a very limited number of colours but there are many variations. I decided to use the purest palette that I could.
We go to Europe, and they think we're totally prejudiced 'cause we hang the bars and stripes. But for us, the bars and stripes doesn't mean we want to see anybody in slavery or anything like that. It's just our heritage. To us, the bars and stripes means grits, 'y'all,' and the beauty of the South. There's no prejudice at all in that with us.
I'd been watching documentaries about early rock where white artists took 'race records' from blues and soul musicians to achieve mass appeal. I wanted to flip that and do an EP covering only white artists.
A lot of artists who have a certain style are expected to more or less keep doing their style. It's so easy to get into that rut of production.
A musician should only sound like what they do, and no two musicians sound the same. It's an individual-feel thing, you know?
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