A Quote by Larry Poons
There's something always instinctively visually right about nature. There's no difference, to my eye, between looking at a great painting and looking at nature. Because painting, when it's great, has the same immutable rightness, unquestioned rightness, about it.
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I believe I am looking for rightness. My work has so much to do with reality that I wanted to have a corresponding rightness. That excludes painting in imitation. In nature everything is always right: the structure is right, the proportions are good, the colours fit the forms. If you imitate that in painting, it becomes false.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
I like to write about painting because I think visually. I see my writing as blocks of color before it forms itself. I think I also care about painting because I'm not musical. Painting to me is not a metaphor for writing, but something people do that can never be reduced to words.
Western artists stand as humans looking at nature; Asian artists try to be in nature. You become one with nature rather than painting a portrait of it. That's a big shift.
Look at the paintings of Picasso. He is a great painter, but just a subjective artist. Looking at his paintings, you will start feeling sick, dizzy, something going berserk in your mind. You cannot go on looking at Picasso's painting long enough. You would like to get away, because the painting has not come from a silent being. It has come from a chaos. It is a by product of a nightmare. But ninety-nine percent art belongs to that category.
What's interesting about architects is, we always have tried to justify beauty by looking to nature, and arguably, beautiful architecture has always been looking at a model of nature.
I believe that one should not think too much about nature when painting, at least not during the painting's conception. The colour sketch should be made exactly as one has perceived things in nature. But personal feeling is the main thing.
You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
As a director you have to be at 30,000 ft objectively looking at everything, wondering if you're making the right objective, emotional, story, character choices. As the writer, while you're asking all of those same questions, you're also forced by the nature of what writing is to be looking at everything under a microscope. That's the difference between the two jobs.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
Our Nation, a great stage for the acting out of great thoughts, presents the classic confrontation between Locke's views of the state of nature and Rousseau's criticism of them... Nature is raw material, worthless without the mixture of human labor; yet nature is also the highest and most sacred thing. The same people who struggle to save the snail-darter bless the pill, worry about hunting deer and defend abortion. Reverence for nature, mastery of nature- whichever is convenient.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
My work has so much to do with reality that I wanted to have a corresponding rightness. That excludes painting in imitation.
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.
The true essence of Chinese culture is sophistication, refinement, the spirit of poetry. The spirit of ink painting and calligraphy lives on forever. Calligraphy is more important than painting. Chinese always consider nature. Man is a very small part of nature. That's why in Chinese painting you see huge mountains and man very small, very humble before nature. You must be harmonious and one with nature. You don't fight it. And then there's a bit of a poetry. Of course, it's very complicated, but also very simple.
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