I want paint to work as flesh... my portraits to be of the people, not like them. Not having a look of the sitter, being them ... As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
As far as I am concerned the paint is the person. I want it to work for me just as flesh does
As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
I said, I don't want to paint things like Picasso's women and Matisse's odalisques lying on couches with pillows. I don't want to paint people. I want to paint something I have never seen before. I don't want to make what I'm looking at. I want the fragments.
The most horrible question students ask: 'How do you paint copper?' 'How do you paint flesh or glass?' You paint everything the same way: Right color, right value, in right spot. There are no prescriptions.
I paint a woman's big rounded buttocks so that I want to reach out and stroke the dimpled flesh.
My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho '50s abstraction that allows paint to sit up on the surface as subject matter about paint.
If I were a painter, I would paint beautiful bodies - I would paint nipples, and I would paint Bibles. Am I going to say, 'I'm not going to paint this woman's neck because people will think I just want to lick on necks?' Please! That's not what art is about.
I want 'Flesh Of My Flesh' to be like my connection to the community, I want to say what's on my peoples' minds, soak up all their pain. I've learned that when I take it all in, I can make one brotha's pain be understood by the world.
Sometimes I really want to paint somebody and I don't get a photograph that I want to work from.
My sin as a painter is that I just want to paint anything I want to paint - and repaint.
Give me some mud, and I will paint you a woman's flesh.
Painters paint outdoors, or in rooms full of people; they paint their lovers, alone, naked; they paint and eat; they paint and listen to the radio. It is a soothing way of doing your job.
I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.
The way I paint, the scale of the information in the images which I want to paint demand space.
Without this heart attitude it is exceedingly difficult for us to accept the circumcision of the flesh. Every affection, desire, thought, knowledge, intent, worship, and work of the flesh must go to the cross.