A Quote by Jeffrey Lewis
Everybody has a direct view of the person "behind" the art, so there is going to be a certain amount of awareness of who is making songs. But I like paintings where you can see the brush-strokes.
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They were wrestling with canvases, using violent colors and huge brush strokes. I arrived with gray, silent, sober, oppressed paintings. One critic said they were paintings that thought.
I started hiding my paintings in certain ways, like behind panes of glass for example. Then, instead of hiding them I did something quite cold and clinical: I built a wooden box, filled it with enamel paint and dunked the painting in so you could only see a suggestion of it from a controlled point of view.
If talking about arts means being pretentious, a bit like being a wine critic, then I don't feel comfy with that. You can get a lot from paintings without getting mystical about brush strokes.
I'd rather be two strokes ahead going into the last day than two strokes behind. Having said that, it's probably easier to win coming from behind. There is no fear in chasing. There is fear in being chased.
When you're making a critical decision, you have to understand how it's going to be interpreted from all points of view. Not just your point of view, not just the person you're talking to, but the people that aren't in the room. Everybody else.
Each moment of your life is a brush stroke in the painting of your growing career. There are the bold, sweeping strokes of one increasing, dynamic purpose. There are the lights and shadows that make your life deep and strong. There are the little touches that add the stamp of character and worth. The art of achievement is the art of making life-your life-a masterpiece.
When you see me on TV, that's about as close to my real personality as you can get. There are a certain amount of folks who admire me, there are a certain amount of folks who don't, and I'm not going to try and change their mind. Nothing I can do will change their mind anyway, because they already have a good gauge of who I am as a person.
I don't view myself as powerful. I mean, I view myself as a person that like everybody else is fighting for survival. That's all I view myself as and I really view myself now as somewhat of a messenger. You know, this is a massive thing that's going on. These are millions and millions of people that have been disenfranchised from this country. I was in front of a group yesterday, at least 25,000 people. The place was going crazy, and I said, I'm like the messenger.
Well, it takes a certain amount of money. And I've got to see pictures of the person ahead of time. If I don't like the way the person looks I won't do it.
The Chinese use two brush strokes to write the word "crisis." One brush stroke stands for danger; the other for opportunity.
Traditional paintings have few figures in them and value negative space. Japanese calligraphy and brush paintings are in black and white. Haiku is the shortest poem form in the world. These are a few examples of a minimalistic aesthetic in Japanese art and culture.
The Japanese have a wonderful sense of design and a refinement in their art. They try to produce beautiful paintings with the minimum number of strokes.
I can go to parties all the time and not see people I want to work with, but then sometimes I do, and the way I try to describe it is that I like to refer to art history a lot in my paintings, and there are some people who just have a face that feels like art historical. Like they could be in a Tiepolo painting as a person riding through the sky in a chariot, or she could be in a fashion magazine.
Sometimes I feel like a beetle crawling through a fusion power plant. I can feel a certain amount, see a certain amount, but I sure as hell don't understand everything.
Music loud, I can't help but wiggle a bit and I think that movement finds its way into the paintings... I can see it in the strokes.
There are some people who may not like precision in their art. They may like it to be grittier and more gestural, more of a direct expression in the way that a painter would put his strokes on canvas.
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