A Quote by Kazuaki Tanahashi
A painting works only on the edge of not working. Then what is ungraspable comes near.
Related Quotes
There are forms that can only be seen when you are near a painting, others only appear when you are far away.
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
Once as I sat painting, I became aware of a man's face hovering near me, moving closer and closer to the panel I was working on. When he spoke he said, 'That is a fantastic brush!
When I look at a painting it isn't only the painting I see but the thing that I am. If there is more in the painting that I am, then I won't see it.
Mutually Assured Destruction, MAD, works only as long as it works; it does not know what to do if deterrence fails, for it envisions no defensive capabilities. A deterrent works until it is needed; then one needs defenses.
I hold that we have a very imperfect knowledge of the works of nature till we view them as works of God,— not only as works of mechanism, but works of intelligence, not only as under laws, but under a Lawgiver, wise and good.
I started out with projected-light works and working indoors, but I'd prepare the walls - by sanding, etcetera - the way you'd prepare a canvas for painting.
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.
Fame never interested me. I could have exhibited more of my own works in the 1970s, but I didn't want to. It's sort of like being a child. When you're finished with school, you have only one thing on your mind: to get out and experience life. Did I want to spend all my time working on a painting? No, I wanted to have fun, travel, meet women and live life.
I do play football no-holds-barred. Any edge I can get, I'll take. I'd grab a face mask only in a fit of anger. Uncontrolled anger is damn near insane.
We live in a world which in some respects is mysterious; things can be experienced which remain inexplicable; not everything which happens can be anticipated. The unexpected and the incredible belong in this world. Only then is life whole. For me the world has from the beginning been infinite and ungraspable.
Sometimes working on one painting will help solve a problem in another painting.
I would always be painting and drawing. If I was stuck at home, I was in the basement working on a painting.
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.
I don't think it's wise to manufacture a painting, just for the sake of working... if the impulse isn't truly there, the painting will lack power.
I was dishwasher, then promoted to chef in a local kitchen in a restaurant in Seattle, and I was working on a building site as well, putting in insulation and painting houses, and then doing some classes at a community college nearby.
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