A Quote by John Hurt
The most difficult thing about painting is the self-discipline. When I finish a job, I give myself a few days, but then I have to discipline myself quite fiercely if I want to do some painting that's worthwhile. Otherwise, you're just doodling. It's much easier when you're just told what you have to do.
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All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
I just feel like if I push myself and I kill myself, then I have self-discipline within myself. That's how you turn into a true pro.
I've had to learn and discipline myself that I'm much happier and much less depressed if I give myself a project. It's just that simple.
People talk about discipline, but to me, there's discipline and there's self-discipline. Discipline is listening to people tell you what to do, where to be, and how to do something. Self-discipline is knowing that you are responsible for everything that happens in your life; you are the only one who can take yourself to the desired heights.
There is only one kind of discipline, and that is the perfect discipline. As a leader, you must enforce and maintain that discipline; otherwise, you will fail at your job.
People say, 'What a discipline, painting so much.' I say, 'No, I love it.' Nothing amuses me as much as my work. To have discipline would be not to paint.
I have seen so much obstructed potential among people who lack personal discipline, who just slough it off, whatever it is, and who think that nothing matters very much. I want my daughter to have what I think of as a capacity for self-discipline. Not the sort of self-discipline that diminishes her own wild passions, but that makes it safer for her to own those wild passions.
Because I went to Chouinard, which then became CalArts, I became a multi-discipline artist - it wasn't just about painting, it was about media and performance.
I have told myself a hundred times that painting - that is, the material thing called a painting - is no more than a pretext, the bridge between the mind of the painter and the mind of the spectator.
When I visit schools and talk to students about writing, I give them one word of advice and I give it to them quickly and loudly-FINISH! Starting something is easier than finishing it. You must have discipline to go from a few sentences, to a few paragraphs, to a piece of writing that has a beginning, a middle, and an end. Finishing something bridges the difference between someone who has talent and one who does not. My best advice? Apply the seat of your pants to the seat of your chair-and finish. FINISH!
One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.
We've got great flexibility and a certain discipline in terms of not doing some foolish thing just to be active - discipline in avoiding just doing any damn thing just because you can't stand inactivity.
When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
Painting is as difficult as brain surgery. It's not that relaxing. But that's the discipline.
I was at an art museum with my parents, and was quite taken with a [Vincent] Van Gogh painting. I stood admiring the painting for some time, and then realized that in addition to feeling moved by the beauty of the painting, I felt a little jealous of the painter.
It's true, I do sometimes suspend myself over the canvas, but mostly I work at a table when I'm making a painting. When I use 'The Rig,' my feet are firmly anchored. I lower myself horizontally just long enough to make a brush stroke - a matter of seconds - and then I'm upright again. My assistant then erases the painting quickly with a squeegee and I go for it again... until I get it right. It's like trying to hit a home run.
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