A Quote by John Mellencamp

I have a bunch of information in my head that I'm not afraid to put in song or onto a canvas. Into any conversation. — © John Mellencamp
I have a bunch of information in my head that I'm not afraid to put in song or onto a canvas. Into any conversation.
The prisoners for better security against conversation shall have a canvas bag put over the head of each and tied around the neck, with a holes for proper breathing and eating, but not seeing.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
There's when a phrase circles in my head in a number of ways for any number of days, weeks, or months, and then that eventually becomes a song. There's a slow permeation of the idea and then that leads into a bunch of themes and becomes a bunch of lines.
Many painters are afraid of the blank canvas, but the blank canvas is afraid of the truly passionate painter who dares-and who has once broken the spell of 'you can't.'
Allow the information to tell you how it wants to be displayed. As architecture is ‘frozen music’, information architecture is ‘frozen conversation’. Any good conversation is based on understanding.
When I write, there's always an image, sometimes a color attached to what's being created. I am delighted with the captured expressions - from my head and my heart. Their arrival onto canvas is beautiful.
I always liked the idea that you can put something in you onto a canvas or a piece of paper and have it exist there and not inside you. It's a way to control things.
I'm not entangled in a bunch of lawsuits and a web that I can't get out of. I can hold my head up... a happily married man who has his head in order. There isn't a bunch of scandal in my life.
There is an exercise I teach at colleges: Get yourself a canvas and a bunch of acrylics and go into a very dimly lighted room. Dip a brush into one of the colors, slap it on the canvas, don't look, close your eyes, make a painting, don't look, turn the lights on and see what you've got. I think this releases people from the editor in their life that's always standing over their shoulder saying, "Oh, you don't have any talent; who do you think you are?"
An artist who wants to transpose a composition onto a larger canvas must conceive it over again in order to preserve its expression; he must alter its character and not just fill in the squares into which he has divided his canvas.
I can put my legs behind my head, but that's pretty much it. An early agent said to me, 'If you can put your legs behind your head, let's say you're a contortionist!' So I got sent out for everything twisty and bendy. It's a good conversation starter.
I actually did a project with my puppet one time in fourth grade. I made up a song that went with the rhythm to a song I do now. And I had to make up a song about a penguin and research and put information in the song about a penguin. And I sang it with my duck, because I didn't have a penguin puppet, but close enough.
I never know what I'm going to put on the canvas. The canvas paints itself. I'm just the middleman.
I sometimes have a horrible fear of turning up a canvas of mine. I'm always afraid of finding a monster in place of the precious jewels I thought I had put there!
I think we're all born with this huge canvas in front of us and the paintbrushes and the paint, and we choose what to put on this canvas.
I don’t like to talk about what my paintings mean since they are so personal, so I like to leave it up to the viewer’s interpretation. It’s very strange to pour your heart out onto canvas and then put it on display for the whole world to see.
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