A Quote by Kurt Wagner
With abstract work, I never was quite sure what it was that felt right about the painting, but I did know that I responded to it and I liked whatever it was offering me. That's something that seems to happen as well when I'm writing, where maybe things that don't necessarily make a lot of logical sense are put together, and yet we struggle to make sense of these things somehow. I'm not quite sure why that is; it's something about human nature, I guess.
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That's something that seems to happen when I'm writing, where maybe things that don't necessarily make a lot of logical sense are put together, and yet we struggle to make sense of these things somehow. I'm not quite sure why that is; it's something about human nature, I guess.
With abstract work, I never was quite sure what it was that felt right about the painting, but I did know that I responded to it and I liked whatever it was offering me.
I worry that if I enjoy something - like the songs on 'Some Nights' are about wondering about who you are. I'm never quite sure and I'd hate to feel sort of content and get a good sense of who I am because if I know one thing, that's not me. I don't mind not necessarily being happy about it. And that's fine.
I never intended to have a career as a journalist, writing about people who make movies. I did it as something that was really rewarding to do, given the opportunity to express myself about something I cared about, and also to learn a lot by watching filmmakers I admired. In a sense, it was my film school. After doing it for a few years, I decided that the time had come to get it together and do some work of my own. Even for a cheap movie, you need film stock and equipment and actors. Whereas to write, all you need is paper and an idea, so I felt that writing might be my stepping stone.
At a young age, I really wanted to make music and make my own sort of thing. I'm sure if it wasn't music, it would have been writing, or it would have been maybe painting. I just always had the drive to try and make something with my hands and to just pull something out of myself and shape it and see it in front of me, if that makes any sense.
I could take the greatest deal-makers of all time and they've always had something that didn't quite work out. You never want to put yourself in the position where something not working out is bigger than what you are and therefore takes you down. It's got to be in smaller chunks. In all cases, I want to learn something from things that didn't quite work out and learn, so that it doesn't happen again or so that in the future, you make great decisions. You don't want to make the same mistake twice and you have to learn that early on in your life.
The fun for me musically is that you never quite know what works and why. So why pretend you do? Why not just put things together and discover, in the creative process, if and why they work? That approach has served me well.
Well, I'd say that I'm mostly drawn to people who are genuine and willing to take a step to the unknown. So when I play with these people, usually there's this sense of that 'yes, we are doing it together right at this moment without any agenda' feeling which is so exciting! It means that there is this sense of trust, that whatever I throw in the music that's happening, they will make it work and send something to work with in my direction. Hopefully they feel the same about me.
If you are someone like Jeff Koons, and you have to work out how to make a big chrome heart or something, then there are lots of people and a big production involved. The money is more natural somehow. For me, I am just on my own in the studio, trying to make things work. One thing is sure: it doesn't make painting any easier.
I was quite eager to work, anytime somebody was offering me a job, if I liked the role. Because I was always very discriminating from the very beginning, in the sense that I had absolutely no problem saying no to jobs when they came along if somehow they didn't fit into my universe - whatever that was.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
I'm still very sure that painting is one of the most basic human capacities, like dancing and singing, that make sense, that stay with us, as something human.
The idea of death is something that doesn't make sense to a lot of people. But to bring something back - or vampires who never die - is a logical fantasy for a human being.
Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or tree. It is lines and colors put together so that they may say something.
The thing that has always baffled me about people's perception of my writing is the sense that I'm a very controversial, opinionated, polarizing person. I feel like I write about things that I'm interested in, and I describe why they're interesting to me. I could be negative, I guess. It's far easier to write why something is terrible than why it's good.
Painting is my profession, because it has always been the thing that interested me most. I'm of a certain age, I come from a different tradition and, in any case, I can't do anything else. I'm still very sure that painting is one of the most basic human capacities, like dancing and singing, that make sense, that stay with us, as something human.
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