A Quote by Hilary Farr

Choose paintings, sculptures, realistic or abstract or animal images woven into fabrics, rather than a faux zebra rug or a sullied Lion's head on the wall. — © Hilary Farr
Choose paintings, sculptures, realistic or abstract or animal images woven into fabrics, rather than a faux zebra rug or a sullied Lion's head on the wall.
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.
The Zebra is striped all over so that the Lion can see him and eat him. Some people say he is striped so that the Lion can not see him. These people believe that the stripes of the Zebra simulate the bars of sunlight falling through the tall jungle grasses and that therefore the Zebra is invisible and that the earth is flat.
All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression. To call this expression abstract seems to me often to confuse the issue. Abstract means literally to draw from or separate. In this sense every artist is abstract . . . a realistic or non-objective approach makes no difference. The result is what counts.
My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings.
I tend to think in images and feelings rather than non-abstract concepts.
I would rather be the tail of a lion than the head of a mouse.
I would rather be the head of a fly than the tail of a lion.
Curled up at the base of the scales, fast asleep, was the oddest monster I'd seen yet. It had the head of crocodile with a lion's mane. The front half of its body was a lion, but the back end was sleek, brown, and fat - a hippo, I decided. The odd bit was, the animal was tiny - I mean, no larger than an average poodle, which I suppose made him a hippodoodle.
Up until 35 I had a slightly skewed world view. I honestly believed everybody in the world wanted to make abstract paintings, and people only became lawyers and doctors and brokers and things because they couldn't make abstract paintings
Up until 35 I had a slightly skewed world view. I honestly believed everybody in the world wanted to make abstract paintings, and people only became lawyers and doctors and brokers and things because they couldn't make abstract paintings.
The great roe is a mythological beast with the head of a lion and the body of a lion, though not the same lion.
I was an abstract expressionist before I had seen any abstract expressionist paintings. I started when I was a kid and continued just doing abstract stuff all through high school.
When a lion stalks a herd, he sneaks in close, lies down, and surveys them to choose his victim. He takes his time. The deer or buffalo have no idea he’s near. He finds his prey and then he explodes from his hiding place and grabs it. Even if another, perfectly serviceable animal ends up within his reach, he isn’t going to alter his course. He has chosen, and he would rather go hungry than change his mind.
Perseverance is the most overrated of traits, if it is unaccompanied by talent; beating your head against a wall is more likely to produce a concussion in the head than a hole in the wall.
My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings. All my works in pastels are the products of obsessional neurosis and are therefore inextricably connected to my disease. I create pieces even when I don’t see hallucinations, though.
When realistic images or patterns are seen in an abstract painting, they are often parallels brought about by processes in painting which echo processes in nature.
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