A Quote by Joel Kinnaman
I think that in Sweden and a lot of European countries, there's this whole mythology of the wounded artist: that you can't really do any great art unless you're suffering.
Related Quotes
From suffering I have learned this: that whoever is sore wounded by love will never be made whole unless she embraces the very same love which wounded her.
Sweden is still a very peaceful country to live in. I think that people in Britain have created this mythology about Sweden, that it's a perfect democratic society full of erotically charged girls.
One of the things that really intrigued us the most about the whole Wonder Woman mythology is the actual mythology of it. Her character has distinct roots in classic Greek mythology.
The Canadian teams just have great training and great coaches and that's sort of why there's the expectation that they're going to win. But there's a lot of really good teams coming out of the European countries.
I wouldn't have really committed myself to any kind of spiritual lifestyle, I don't think, if I had not endured great suffering. I think that's the case with a lot of people.
I think great art goes beyond the control of the artist. In some ways, art often makes itself and reveals things about that artist that maybe the artist is not fully conscious of.
Membership in the European Community, now the European Union, has enabled Ireland to re-find its sense of participation - cultural, political, social - at the European level. I think that also opens up possibilities for Ireland as a European country to look outward - to look particularly, for example, at countries to which a lot of Irish people emigrated, to our links - our human links - with the United States, with Canada, with Australia, with New Zealand. And to look also, because of our history, at our links to the developing countries.
I think one big reason why Sweden might have a good reputation around the world is that if you look at Norway or Denmark or Finland, any of the Scandinavian countries, they all seem less interested in being a part of the larger world, where Sweden has always tried to reach out, whether it's with Volvos, Saabs, H&Ms, music, clothes.
The image of the bank robber I had in mind was more in the European tradition where you'd rob banks and give to the poor, like Robin Hood. It was that mythology. But very early on, my whole preoccupation was with art-studying it, examining every piece of work.
I think another way that you can really harm yourself as an artist is by buying into the mythology that it's really important.
Norman Rockwell - even though we think of him as a great American artist, in a lot of museums he has not garnered that kind of attention. And it's this kind of accessibility that we're trying to bring - not looking down on any art.
I think a 23-page ordinary comic is an investment for the artist, but if you're doing something 60 to 104 pages, that's a really big investment for an artist. So unless you've got someone who wants to pay you while you're doing it or up front, it's kind hard to get someone to do that with you, unless you're the artist yourself.
A wounded healer, I think, is a lot more powerful than a healer that has not been wounded. In 'Weaker Girl,' I was coming from a wounded healer's perspective.
I started blogging because I didn't know if I wanted to be an artist. I wanted to talk to other people online who were doing art, so I would post work and ask for feedback. I loved that an artist like James Jean would show his process on his blog. It became this open dialogue that, unfortunately, we don't have a lot in the fine-art world. People will say, "Wow, you share a lot." I'm like, "No, I make it a point to." Instagram is a great place for people to share failure. I don't want people to think that being an artist is some glamorous life.
No art is any good unless you can feel how it's put together. By and large it's the eye, the hand and if it's any good, you feel the body. Most of the best stuff seems to be a complete gesture, the totality of the artist's body; you can really lean on it.
All truly great art is optimistic. The individual artist is happy in his creative work. The fact that practically all great art is tragic does not in any way change the above thesis.
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