I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
The supreme question about a work of art is out of how deep a life does it spring. Paintings of Moreau are paintings of ideas. The deepest poetry of Shelley, the words of Hamlet bring our mind into contact with the eternal wisdom; Plato's world of ideas. All the rest is the speculation of schoolboys for schoolboys.
I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
People are still making paintings. People are still enjoying paintings, looking at paintings. Paintings still have something to tell us. There's a way of being in the world that painting brings to us, that painters bring to the task that we absorb and are able to be in dialogue with. That's something that's part of us.
A role is a role where I play someone else, but when it comes to paintings, it is me. It is unadulterated Shefali and there is no control and I can let go. I am unabashedly unapologetic about it. That is what is interesting about my paintings.
It's three disparate elements: the stop sign, the stage paintings, and the skeleton paintings. Those are three sharp ideas, although none of them are necessarily good ideas. Tons of artists have made whole careers out of those three ideas.
Let's look at people as artists and try to support them; just because Picasso painted a couple of bad paintings, that's no reason to say he's a lousy painter.
I don't paint over my paintings with black paint. I paint black paintings. It isn't because I'm sad, just as I didn't paint red paintings yesterday because I was happy. Nor will I paint yellow paintings tomorrow because I'm jealous.
Some people might think that the paintings are involved with a mythic - not just subject matter - but a certain sort of physical space that the paintings occupy...like personages.
Not everybody paints what the public will pay for. The method in which an artist receives money is nobody's business, what matters is that paintings are produced.
All photographs are there to remind us of what we forget. In this - as in other ways - they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.
In Germany, we often hear the absurd complaint that museums don't have the money to buy paintings. Of course, I'm not talking about me and my paintings. There are, after all, more popular painters in this country.
Generally paintings are about technique, but I don't see myself as a painter. I am more of a storyteller and an image - maker.