A Quote by Jeff Koons
I try to make pieces that are durable. One of the reasons that I work in steel is durability.
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Some of the stainless steel discs that I play, I cut myself from pieces of stainless steel that I found. I don't make as many as I used to, because you can't get into surplus and scrap yards as easily anymore.
I have an inability to relax. I try to make every day a work day. I get pleasure from work... I try to think of sketch ideas, stand-up pieces. I am incapable of leisure and leisure time.
What I have done is always try to be nice to work with. I make the best impression, try to do a good job... and if people hire me again, it's for the right reasons.
You take a look at what's happening to steel and the cost of steel and China dumping vast amounts of steel all over the United States, which essentially is killing our steelworkers and our steel companies. We have to guard our energy companies. We have to make it possible.
We work on our set pieces for every opponent. It's a moment of the game that requires a lot of hard work, defensive and offensively. We try to invest our time in set pieces.
I make work that tries to sort of connect with something really, really familiar. I don't try to make work that's original. I try to make work that's quintessential. That's what I mean about the familiar. It operates with stuff that people already know or information that they already have and I try to just use that. Quintessential means like the perfect minimalist sculptor.
I feel very protective in the first draft, when all the pieces are coming together. I work in a way that is not linear or chronological at all, even with the short story. I will just be writing bits and pieces, and then when I have all the pieces on the table, that for me is when it feels like the real work begins.
One of the reasons I work serially, but also one of the reasons that I try to claim space in painting, is I'm desperately interested in asking: How can a group of images, or even two images, have meaning together?
China is illegally dumping steel in the United States and Donald Trump is buying it to build his buildings, putting steelworkers and American steel plants out of business. That's something that I fought against as a senator and that I would have a trade prosecutor to make sure that we don't get taken advantage of by China on steel or anything else.
I think artists sometimes go back to something when we never should, for many different reasons. You hear a lot of stories that make you feel good about the work and the project; sometimes you try to relive that, like, 'I want to make a part two.'
I'm a rewriter. That's the part I like best . . . once I have a pile of paper to work with, it's like having the pieces of a puzzle. I just have to put the pieces together to make a picture.
Things don't just happen, they have reasons. And the reasons have reasons. And the reasons for the reasons have reasons. And then the things that happen make other things happen, so they become reasons themselves. Nothing moves forward in a straight line, nothing is straightforward.
The truth is that we have hitherto made no genuine effort to produce forged steel working parts of automobiles of the highest quality. That is one of the reasons why our automobiles have not ranked with those of foreign make.
The trick generally is to break programs into pieces and have those pieces be individually testable and so then when you move on to the other pieces you treat it as a black box knowing that it either works or doesn't work.
So you know when you were work on Man of Steel, in 10 years somebody is going to do the music for Man of Steel, and a different director is going to be doing Man of Steel. That’s the reality. So all you can do is to give it not only your best, but your vision on what this character is, when you become one with that character.
One thing I have throughout my career, it felt like I did my best to align myself with quality artists, quality work, and it is a situation of steel sharpening steel.
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