A Quote by Laura Owens
In art school, they teach you to struggle through the process: If you have your image down, you've painted it, and it's not looking the way you wanted it to, you can do wet on wet - you just keep moving the image around.
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Political image is like mixing cement. When it's wet, you can move it around and shape it, but at some point it hardens and there's almost nothing you can do to reshape it.
Even though you try very hard, the progress you make is always little by little. It is not like going out in a shower in which you know when you get wet. In a fog, you do not know you are getting wet, but as you keep walking you get wet little by little. If your mind has ideas of progress, you may say, 'Oh, this pace is terrible!' But actually it is not. When you get wet in a fog it is very difficult to dry yourself.
I sat up in bed. My T-shirt was soaking wet. My pillow was wet. My hair was wet. And my room was sticky and humid.
Put someone on a horse looking cold and wet, and they don't have to act. They just are cold and wet.
It was great to get rid of the long hair. It's such a pain that, if you look at it, it's always wet when guys wrestle: you dump gallons of conditioner in it to keep it wet so you're not choking on it. You have all kinds of stuff in it, and just maintaining it is a lot of work.
Asparagus in a lean in a lean is to hot. This makes it art and it is wet weather wet weather wet
Amazingly, my first project at Granta was the Sex issue. Given my own proclivity for the nuances of hedonistic and sexual exploration, partly through art, it was a perfect way to start. I love to interrogate through image - or pose questions through a subversion of said image - and we came up with a visual that caused quite a stir and went on to pick up a Design and Art Direction award.
Looking at fires when high, by the way, especially through one of those prism kaleidoscopes which image their surroundings, is an extraordinarily moving and beautiful experience.
Film is the best way to capture an image and project that image. It just is, hands down.
I wanted to jeopardize my own image. With my image I had already produced art pieces such as videos of photographs.
Sometimes I just think of an image. Basically, I see an image in front of me. My eyes are open, but I visualize an image, very truthfully. It happened with all my movies the same way.
At the earliest age, when I saw a 'wet paint' sign, I had to touch the paint to see if it was wet. When I get stopped at the stoplight in the middle of the night, and there's just no cars coming, and the light is red, I go. I don't think I'm putting anyone in harm's way, and I'll just take the consequences. Because I'm a Libertarian.
The image can only be studied through the image, by dreaming images as they gather in reverie. It is a non-sense to claim to study imagination objectively since one really receives the image only if he admires it. Already in comparing one image to another, one runs the risk of losing participation in its individuality.
It is bad enough to be condemned to drag around this image in which nature has imprisoned me. Why should I consent to the perpetuation of the image of this image?
People thought I was a really raw rapper that hated everything - a really sour person - but really I'm just a good, all-around music-making kid and I'm really happy. That really, I feel, painted my image to a lot of people. My music now, some people get sour over it because it's really happy, it's poppy, but I'm just telling them that that image from way back then was me feeling uncomfortable and now I'm comfortable.
I try to keep my sitters moving and talking, to make them forget they are being painted. This has nothing to do with extracting intimate secrets or confessions, but rather with establishing, in motion, an essential image of the kind that remains in memory or recurs in dreams.
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