A Quote by James Elkins
To an artist, a picture is both a sum of ideas and a blurry memory of 'pushing paint,' breathing fumes, dripping oils and wiping brushes, smearing and diluting and mixing.
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Brushes are crucial for applying glazes, sauces, and oils. The pastry brushes that you find in homestores can be pricey so pay a visit to your local hardware store and pick up a few paint brushes which are less expensive and work equally as well.
I used to flirt with fundamentalism, and I had this idea that creation was something that happened. Now I see creation as something that is happening. Hundreds of millions of stars are still being born every day. Creation is an ongoing process. The Artist has not yet cleaned out the brushes. The paint is still wet. Human beings are the small clumps of clay and breath, and we have been handed brushes of our own, like young artist apprentices. The brushes aren't ours, nor the paint or canvas, but here they are in our hands, on loan. What shall we make?
She was an enthusiastic painter of oils and watercolors. She was also very generous. I could mess with her paints and brushes all I wanted. On one condition: that I kept my brushes clean. The only art lesson my mother gave me was how to wash my brushes.
I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added.
I paint in oils, I paint in acrylics. I paint figurative and landscape portraits. It's all in my own kind of style. I'm self-taught.
I love being able to be the artist of the whole picture, as opposed to just one of the brushes.
Any combining, mixing, adding, diluting, exploiting, vulgarizing, or popularizing of abstract art deprives art of its essence and depraves the artist's artistic consciousness. Art is free, but it is not a free-for-all.
People ask me why I don't paint oils. It takes too long. Cleaning brushes in linseed oil, and it takes six months to really dry, and all this. I don't have that kind of time. I work with acrylic. It's water based. You can clean it under water. If you spill it on yourself, you just throw it in the washing machine.
Most of the paint I use is a liquid, flowing kind of paint. The brushes I use are more a sticks rather than brushes – the brush doesn’t touch the surface on the canvas, it’s just above
[so] I am able to be more free and to have greater freedom and move about the canvas, with greater ease.
Define excellence vividly, quantitatively. Paint a picture for your most talented employees of what excellence looks like. Keep everyone pushing and pushing toward the right-hand edge of the bell curve.
It takes two guys to tell a story, paint a picture, so our audience can be entertained and brought into the match. You need to suck people in emotionally to a match, and it takes both parties to paint that picture.
As an actor, most of the time, you only have so much say in how, what and where things go. As a director, you really get to paint a bigger picture. You have many more brushes to use.
And what does really matter? That is easy: thinking and doing, doing and thinking--and these are the sum of all wisdom. . . . Both must move ever onward in life, to and fro, like breathing in and breathing out.
Envision what the end result is supposed to be... what do you want to be when you grow up? Where do you see yourself? Once we identify what the painting on the wall is, it is so much easier to bring in the right colors, canvas and brushes to paint that picture.
The real risks for any artist are taken in pushing the work to the limits of what is possible, in the attempt to increase the sum of what it is possible to think. Books become good when they go to this edge and risk falling over it -when they endanger the artist by reason of what he has, or has not, artistically dared.
Formerly pictures used to move towards completion in progressive stages. Each day would bring something new. A picture was a sum of additions. With me, picture is a sum of destructions. I do a picture, then I destroy it. But in the long run nothing is lost; the red that I took away from one place turns up somewhere else.
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