A Quote by Katherine Dunn

I do not plan any painting, but begin with layers of textures and colors. As I layer the colors, something is suggested to me from within, and that is how it evolves. — © Katherine Dunn
I do not plan any painting, but begin with layers of textures and colors. As I layer the colors, something is suggested to me from within, and that is how it evolves.
Simultaneous contrast is not just a curious optical phenomenon – it is the very heart of painting. Repeated experiments with adjacent colors will show that any ground subtracts its own hue from the colors which it carries and therefore influences.
The rainbow is a part of nature, and you have to be in the right place to see it. It's beautiful, all of the colors, even the colors you can't see. That really fit us as a people because we are all of the colors. Our sexuality is all of the colors. We are all the genders, races, and ages.
I look at the textures, surfaces, colors, and the individual objects in the painting. And then I wonder: what are the relationships among them? Those relationships are everything.
'Color' is quite different from 'colors.' In an image with many colors, we find that all the colors compete with each other rather than interacting with each other. The results" colors.
To me, writing and composing are much more like painting, about colors and brushes; I don't use a computer when I write, and I don't use a piano. I'm at a desk writing, and it's very broad strokes and notes as colors on a palette.
Little by little, I've reached the stage of using only a small number of forms and colors. It's not the first time that painting has been done with a very narrow range of colors. The frescoes of the tenth century are painted like this. For me, they are magnificent things.
I don't have the educated knowledge of what textures, colors, shapes and spaces need to be put together to make something just right. I'm learning it by trial and error, which is something that's slow going.
I like to use really basic or classic colors, things that people have seen over and over and over again. Primary colors, at least in photography, have been around a lot longer than neon colors and really vibrant purples, hot pinks. Red, blue, yellow, orange - because of Kodachrome and the way that things were produced I think that those colors stood out more than any others.
In black and white there are more colors than color photography, because you are not blocked by any colors so you can use your experiences, your knowledge, and your fantasy, to put colors into black and white.
Black, white and nude are my essential colors. Each time I start a collection, I start with these colors; they are the elemental colors we refer to from the beginning.
Even colors were important to me. If it was a somber scene, the colors were muted and dark. If it was a happy or seductive scene, the colors were brighter.
Art is the colors and textures of your imagination.
It's an enormous amount of work: there are 28 separate buildings, and I work on the choice of the colors for everything. Outside colors, balcony colors, etc.. And all of this has to work together, in harmony.
Repeated similar experiments with adjacent colors will show that any ground subtracts its own hue from colors which it carries and therefore influences.
I use colors that have already been experienced through the light of day and through the state of mind of the total man. In other words, my colors are not colors that are laboratory tools which are isolated from all accidentals or impurities so that they have a specified identity or purity.
Painting is something that takes place among the colors.
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