A Quote by Kat Von D
There's so much more work that goes into developing a makeup line than one would imagine. Personally, I like to be involved in the entire creative process - everything from art direction, collection concepts, formula testing, packaging artwork, to naming the shades and also the marketing side of things.
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People think of time as a continuum composed of points which is stretched out at a line, and even if you add a direction to it and say one direction on the line is past and the other direction is future, or better, one direction is "earlier than" and the other direction is "later than", you're still thinking of it as like a geometrical line which is stretched out rather than as a dynamic process of becoming.
It's not so much a philosophy as much as it is a pace. We need to be personally involved with every aspect of the records including the artwork, we want everything to have a similar aesthetic.
I view all art as an effort to translate brain concepts into a work. These brain concepts are synthetic ones - the result of many experiences. But a single work of art, or even a series of works, more often than not cannot translate these synthetic concepts adequately. Yves Saint Laurent once said that he suffered greatly when creating. He is not alone in that. Most artists do the same and say as much.
I have to say the thing that I want to do so badly is design a line. I still don't know exactly what direction I want to go but designing a line for full-figured women, offering them a chance to have chic clothing that's maybe a little more daring than the clothing they've been offered in the past, I would like the opportunity to create that for them. I'd also like to break into the beauty industry and be the face of a makeup line. I think for it sends a fantastic message: Here's the face of beauty and look, she's a bigger size.
I'm drawn to talented, creative people who often just don't know how to support themselves - they're more focused on their work than trying to figure that out. So I commission a lot of works with artists who I like personally or professionally, and through that process, I wound up collecting a lot of art.
As an actor, there is so much more than just acting in the film. A lot of other things like networking and marketing is involved.
As someone who is on the more liberal side of things, I personally think this side needs to be a little less open. I know that's part of what it means to be on the more liberal side of things, but that trait can no longer really be a part of our makeup. The simple reason for this is that the opposing side uses our openness to their full advantage.
I feel that all girls like clothes and I'm more of a creative person. If it's writing the album or developing the makeup range, it's just about being creative. That for me is where I am happiest.
People tend to view land art as something that happened at a certain historical moment - like minimal art, which I was also very much involved with. But it still goes on. It's very much alive.
My ad-hoc empirical formula is that wherever you grow a lot of rice, there is a lot of art developing as well. My theory goes on to say that after having a nice meal of rice, one feels lethargic and don't think of work. When you don't think of work, you think of art.
The early years of Hanna-Barbera were more fun than the later ones. I was working more in the creative areas of timing and direction then. But as the studio grew, I became more involved in administration and got away from the creative aspects.
The artwork on my packaging was something I painstakingly micro-managed - for example, I treat it like a tattoo, taking into consideration the muscle structure and seeing were the line lands on the existing body.
"Naming Tokyo" kicked off at the Palais de Tokyo in Paris in June, and it's going to travel to various art institutions for years to come. Every time it is shown, I'm developing the research and involving more and more people in it. The final conclusion of the work would eventually be to put up street signs in Tokyo with my names on them.
We have not had a ton of innovation and marketing in the concert industry, much like the record industry. We have been a fairly old-school business compared to Coca-Cola and the big packaging/marketing companies.
My Picassos and Ferraris - those are kind of just toys. Those aren't the things that matter. What matters in the car collecting or the art collecting is to learn about it, and then actually not the acquisition but to put them into a collection that I think is curated. You know, so something of me in the collection that the artist actually created the work. If I was going to collect art, it had to be something of me, my eye, things that appeal to me so when I looked at it, it would really look like a collection, not just an accumulation of stuff.
I grew up with very much an appreciation of the creative side of things, but always knowing how much Wall Street, finance and economics really powered everything else, whether it's politics or the art world.
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