A Quote by Kiki Smith
I had stopped making figures, and then I began making images of animals in nature, which was a way to introduce the figure.
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In New York, working at the foundry, I was making these little figures. I desperately would like to make big figures, but I just can't do it; my hands don't do it. We were talking about making bronze plinths, and then we made one, a square one. I wrote on it, then I put a little figure on top, and it just looked really good. It worked.
Nature consists of facts and of regularities, and is in itself neither moral nor immoral. It is we who impose our standards upon nature, and who in this way introduce morals into the natural world, in spite the fact that we are part of this world. We are products of nature, but nature has made us together with our power of altering the world, of foreseeing and of planning for the future, and of making far-reaching decisions for which we are morally responsible. Yet, responsibility, decisions, enter the world of nature only with us
I started doing 'figures', then, one day, all of a sudden, I started doing abstraction. And then I started doing both. But it was never really a conscious decision. It was simply a question of desire. In fact, I really prefer making figurative work, but the figure is difficult. So to work around the difficulty I take a break and paint abstractly. Which I really like, by the way, because it allows me to make beautiful paintings.
In 2006, I started making a film called 'Restraint of Beasts.' While I was making it, I had a personal disaster. My wife fell ill, so we stopped shooting halfway through. And then sadly, my wife died.
Making photographs that dealt with the understanding of who I am as a gay man and dealt with the process of accepting that, and also accepting what I'm into sexually, what sexually arouses me. So I was making these images not necessarily knowing what they were about, but just putting it out there - that mode of thinking or consideration of my own desires, and also the much larger conversation around images that deal with ideas of sexuality and how those images are distributed and then accepted or understood by whoever is viewing those images.
I stopped making films to look after animals.
I slowly began making a few photos with animals over the years, and I liked how people reacted to them. When I would have the animals on set, I'd notice the way the models would interact with them and there was so much true emotion that you rarely see between two human beings.
We always had Packards, until the war, when they stopped making them; then we had a Cadillac.
It's hard to give specific advice because there's so many different types of animals. In making movies, you just have to figure out what type of animal you are and then find the road.
I began observing, making paintings of my surroundings, taking a vow of silence, listening, composing music, writing, and making time for formal education. Then I started telling stories.
When I was younger, I think that I felt like I could only live one way, and I had to figure out which of those one ways it was going to be. I have no anxiety about making the wrong decision.
When it comes to music, I am a dictator. Making a Dirty Projectors record come to life is like making a movie; I'm the one that makes the picture, and then we all figure out how to realise it.
I became really aware that when you're making a movie, you're making it three times. You're making it when you're writing it. You're making it when you're shooting it. And then you're remaking it again when you're editing it.
I basically left Texas with no money. I was making $3.50 working in some mall, so I didn't have a lot of cash. I took $1,000 and headed to California. Along the way I stopped in Vegas because I had always wanted to see Caesar's Palace. So I stopped there and won $2,500 on a slot machine! It was amazing.
As in the case of making a mound, if, before the very last basketful, I stop, then I shall have stopped. As in the case of leveling the ground, if, though tipping only one basketful, I am going forward, then I shall be making progress.
I've been making movies for a long time. The Japanese way of making movies has become second nature to me. To get away from that, I really try to surround myself with younger staff and approach making movies not like a veteran of the industry but always as a beginner and a rookie.
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