Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.
Maybe the given person, cup, or landscape is lost before one gets to painting. A figure exerts a continuing and unspecified influence on a painting as the canvas develops. The represented forms are loaded with psychological feeling. It can't ever just be painting.
One ends up with a landscape one has never seen before but it is presumably the landscape you were feeling as you started the painting.
How to paint the landscape: First you make your bow to the landscape. Then you wait, and if the landscape bows to you, then, and only then, can you paint the landscape.
Photography has almost no reality; it is almost a hundred per cent picture. And painting always has reality: you can touch the paint; it has presence; but it always yields a picture - no matter whether good or bad. That's all the theory. It's no good. I once took some small photographs and then smeared them with paint. That partly resolved the problem, and it's really good - better than anything I could ever say on the subject.
I don't think it's necessary for artists to have any formal training in painting or art history, but I do think it's essential to continually experiment with different subject matter, types of paint and methods of painting.
If you feel something calling you to dance or write or paint or sing, please refuse to worry about whether you're good enough . Just do it. Be generous. Offer a gift to the world no one else can offer : yourself.
I deal with painting as I deal with things, I paint a window just as I look out of a window. If an open window looks wrong in a picture, I draw the curtain and shut it, just as I would in my own room. In painting, as in life, you must act directly.
Sometimes just to paint a head you have to give up the whole figure. To paint a leaf, you have to sacrifice the whole landscape. It might seem like you're limiting yourself at first, but after a while you realize that having a quarter of an inch of something you have a better chance of holding on to a certain feeling of the universe than if you pretended to be doing the whole sky.
Landscape painting tends to fall under more academic controls. I must say I often like working within these controls. It gives me the feeling that I'm taking part in a noble tradition.
I enjoy painting. I don't know if I'm good at it, but I paint. I paint very quickly.
In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?
I paint, and painting gives me my much needed break from my routine. Painting was a subject in my school, and I developed a liking for the lines and colours and started practising in my free time. It helps me de-stress amidst my hectic shooting schedules.
The key point about a demonstration is that it must be seen. Hence the term "demonstration." If a person demonstrates privately in his own home, this is not technically a demonstration but merely "acting silly" or "behaving like an ass.
I paint in oils, I paint in acrylics. I paint figurative and landscape portraits. It's all in my own kind of style. I'm self-taught.
When you are painting a landscape, assume the painting is real and the landscape is an illusion.