A Quote by Jessica Stockholder
I suppose I consider my work a kind of picture making.
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If in making a picture you introduce two ideas, you weaken it by half-if three, it weakens by compound ratio-if four, the picture will be really too weak to consider at all and the human interest would be entirely lost.
When an artist paints a picture he does not want you to consider his personality as represented in that picture - he wants you to look at the beauty of that picture. No one cares who has painted the picture as long as it is beautiful.
I never know if my picture is a good picture or a bad picture, because I'm not making pictures thinking of the public, I'm making pictures to realize myself.
Really the truth is just a plain picture. A plain picture of, let's say, a tramp vomiting in the sewere. You know, and next door to the picture Mr. Rockefeller or Mr. C. W. Jones on the subway going to work. You know, any kind of picture. Just make a collage of pictures.
So the best way to understand poetry, which is made by men, is to imitate, and that goes back to making work as a kind of doorway into new work, as opposed to making work as a mirror of the old work.
I suppose all moms have an idea who they hope their daughters will be. Like a connect-the-dots picture where you think you know what shape it will become. But then it's the daughter who draws the lines, and she might connect the dots you didn't intend, making a whole different picture. So I've gotta trust the dots she's given me, and she's gotta trust me to draw the picture myself.
One paradox I have found is that, the more you use computers in picture-making, the more hand-made the picture becomes. Oddly, then, digital technology is leading, in my work at least, toward a greater reliance on handmaking because the assembly and montage of the various parts of the picture is done very carefully by hand.
I do value my work awfully; but in reality only consider this: all this world of ours is nothing but a speck of mildew, which has grown up on a tiny planet. And for us to suppose we can have something great - ideas, work - it's all dust and ashes.
The whole relationship between a writer's spiritual/emotional condition and the kind of wordstuff and form-making that's going on in his work is an interesting one. When I was an undergraduate, there was a glib notion around that there was no reason to suppose a bad man could be a good writer.
The vast majority of English folk cannot and will not consider a picture as a picture, apart from any story which it may be supposed to tell.
We are all in this together. We want to have, I suppose, a single point of entry so that anyone coming near a disability service can get a very complete picture. Government needs to understand that picture, and we need to be able to offer somebody a one-stop shop.
I do think that dread is about a certain kind of expectation. And the fact that a picture can never resolve itself the way a movie can - maybe that's a specific kind of dread that becomes associated with a picture.
I enjoy singing the songs a certain way, but I don't even know how the writing even began. To me, it's work that is kind of invisible; it's a weird kind of work to have because you're not working, but it's not not work. Formulating your thoughts and making a melody that's catchy enough for people to listen to what you're saying is really hard!
As an actor I suppose you're constantly observing. I don't sit in restaurants making notes, I don't live my life in order to then feed it into my work.
Frame in terms of what you want to have in the picture, not about making a nice picture, that anybody can do.
We don't consider manual work as a curse, or a bitter necessity, not even as a means of making a living. We consider it as a high human function, as the basis of human life, the most dignified thing in the life of the human being, and which ought to be free, creative. Men ought to be proud of it.
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