A Quote by Louise Bourgeois
I know that when I finish a drawing, my anxiety level decreases. The realistic drawings are a way of pinning down an idea. I don't want to loose it. With the abstract drawings, when I'm feeling loose, I can slip into the unconscious.
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If there is no idea in the drawing, there is no idea in the constructed project. That's the expression of the idea. Architects make drawings that other people build. I make the drawings. If someone wants to build from those, that's up to them. I feel I'm making architecture. I believe the building comes into being as soon as it's drawn.
The principle factor in my success has been an absolute desire to draw constantly. I never decided to be an artist. Simply, I couldn't stop myself from drawing. I drew for my own pleasure. I never wanted to know whether or not someone liked my drawings. I have never kept one of my drawings. I drew on walls, the school blackboard, odd bits of paper, the walls of barns. Today I'm still as fond of drawings as when I was a kid - and that was a long time ago - but, surprising as it may seem, I never thought about the money I would receive for my drawings. I simply drew them.
All my work begins with drawings. I don’t labor over my drawings. I want to get freedom in the line. I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.
The novels have done so well because the drawings are abstract, black-and-white. This adds to the universality of the story. "Persepolis" also has dreamlike moments, and the drawings help maintain cohesion and consistency.
One of the first drawings I did in Paris - I wasn't thinking of doing drawings, but somehow or other, I kept drawing - I bought a hyacinth flower with a lot of leaves, just to make me feel like spring.
Many are they who have a taste and love for drawing, but no talent; and this will be discernible in boys who are not diligent and never finish their drawings with shading.
I know I draw without taking my pen off the page. I just keep going, and that my drawings I think of them as scribbles. I don't think they mean anything to anybody except to me, and then at the end of the day, the end of the project, they wheel out these little drawings and they're damn close to what the finished building is and it's the drawing.
It's fun to sit down and do a few drawings, but when you have to sit down and do hundreds of drawings whose value only depends on getting to the end of the chain, then you've created a different kind of monster.
The drawings that I show - the drawings that I present to people are finished works in themselves. They're meant to be thought of that way and not necessarily lead to larger pieces or anything like that. And that's the way I work now.
Sometimes I draw with my left hand and I am pretty terrible. The drawings end up just looking like shakier/inconsistent (worse) versions of my right hand drawings. Sometimes I like drawing with my eyes closed.
I decided to sell my drawings. However, I didn't want people to buy my drawings because the professor of physics isn't supposed to be able to draw - isn't that wonderful - so I made up a false name.
Let the human mind loose. It must be loose. It will be loose. Superstition and dogmatism cannot confine it.
The drawings don't start with 'a beautiful mark'. It has to be a mark of something out there in the world. It doesn't have to be an accurate drawing, but it has to stand for an observation, not something that is abstract, like an emotion.
I started my own magazine with drawings, commentary, news, film reviews and drawings.
I love drawings, so I've always enjoyed making drawings that exist on their own.
Our parents all experimented with raising us in a fairly loose, unorthodox way. A huge emphasis was placed on creativity, and our artistic efforts were never dismissed as childish. There was a sense that we - kids and grown-ups - all had the potential to make something of value. Our drawings were not simply destined for the refrigerator.
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