A Quote by Joe Sacco
It became clear to me that I had to push it toward a more representational way of drawing.
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The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural... Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.
These narrow-footed forms I was making, I thought, gosh, I could push those further, not to construct them the way [Hans] Coper did but to work in my own manner but push it more toward that form. And I learned to do that and enjoyed it for a number of years.
Drawing is not only a way to come up with pictures: drawing is a way to educate your eye to understand visual information, organizing it into a more hierarchical way, a more economical way. When you see something, if you draw often and frequently, you examine a room very differently.
Be clear in your mind why learning to draw well is important. Drawing enables you to see in that special, epiphanous way that artists see, no matter what style you use to express your special insight. Your goal in drawing should be to encounter the reality of experience... to see ever more clearly, ever more deeply.
My temperament and habit had always kept me rather in the middle of the road; in politics as well as in social reform I had been for "the best possible." But now I was pushed far toward the left on the subject of the war and I became gradually convinced that in order to make the position of the pacifist clear it was perhaps necessary that at least a small number of us should be forced into an unequivocal position.
For me, travelling and drawing the world, experiencing as much as possible first hand, has been very important. Making notes, drawing and writing on the move, became second nature.
In my life I have had to work through problems of stigmatization and prejudice. When I discovered the power of the arts to express my pains and joys, it became clear to me that there would be no other way to work through the demons except to fully embrace the process of creation. The work was not personal therapy but had a connection to other peoples' realities. As I grow older and more mature, it becomes clearer to me that personal struggles and conflicts are connected with universal struggles and conflicts. It is this knowledge, ironically, that gives me the freedom to experiment in my work
I only auditioned at four schools. I started performing and studying when I was in middle school, and then as I got into high school, it just got more serious. I feel like it became more of a vocation. It became clear to me at that point that I wanted to pursue it.
It wasn't a problem for me drawing humans although I had originally come to the studio with the idea that what I had to offer them was my knowledge in the drawing of animals.
I always had more allergies toward the superhero comics than the others. I thought those were aimed more toward the people who would beat me up.
Acting became important. It became an art that belonged to the actor, not to the director or producer, or the man whose money had bought the studio. It was an art that transformed you into somebody else, that increased your life and mind. I had always loved acting and tried hard to learn it. But with Michael Chekhov, acting became more than a profession to me. It became a sort of religion.
My mother gave me a push. If I hadn't had her, maybe I wouldn't have had the push. If I hadn't gone to military school, maybe I wouldn't have decided to get with the program. Maybe I'd be running a bulldozer, rather than going on and doing something more.
While he writes, I feel as if he is drawing me; or not drawing me, drawing on me - drawing on my skin - not with the pencil he is using, but with an old-fashioned goose pen, and not with the quill end but with the feather end. As if hundreds of butterflies have settled all over my face, and are softly opening and closing their wings.
It finally became clear to me that they had no hopes of my ever walking again.
Drawing instruction is a training towards perception, exact observation and exact presentation not of the outward appearances of an object, but of its constructive elements, its lawful forces-tensions, which can be discovered in given objects and of the logical structures of same-education toward clear observation and clear rendering of the contexts, whereby surface phenomena are an introductory step towards the three-dimensional.
For me, drawing is a way of navigating the imagination and it remains the fundamental vehicle of my practice. Drawing allows me to be at my most inventive.
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