A Quote by Madonna Ciccone
To me, the whole process of being a brush stroke in someone else's painting is a little difficult
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Every brush stroke has a certain tension, a certain nervousness. Every brush stroke is, in a sense, some kind of an accident.
There is a primal reassurance in being touched, in knowing that someone else, someone close to you, wants to be touching you. There is a bone-deep security that goes with the brush of a human hand, a silent, reflex-level affirmation that someone is near, that someone cares.
I'd say 'Codename Baboushka' has been a slightly more difficult process for me, but I think that's precisely because it's quite different to my usual fare. And even then, being difficult doesn't make me prefer it, or not, to anything else. I like a challenge.
Painting is a slow process; it takes time to get there, you learn little by little and always want the next painting to be better than the last. For me, success is about this, seeing the slow progress in my work.
The Chinese use two brush strokes to write the word "crisis." One brush stroke stands for danger; the other for opportunity.
When an actor is in the moment, he or she is engaged in listening for the next right thing creatively. When a painter is painting, he or she may begin with a plan, but that plan is soon surrendered to the painting's own plan. This is often expressed as 'The brush takes the next stroke.' In dance, in composition, in sculpture, the experience is the same: we are more the conduit than the creator of what we express
When your whole being is attracted to someone else's whole being, then I think that is someone you were meant to be connected with at some point.
A lot of what I do is about being in the moment and I think that's hard for people to get. I like it when things suddenly affect the painting. I mix up this red and it affects the whole painting or this little bit of white falls down there, and something changes the whole nature of the thing. The residue on what happens, that's what's in the paintings.
Each moment of your life is a brush stroke in the painting of your growing career. There are the bold, sweeping strokes of one increasing, dynamic purpose. There are the lights and shadows that make your life deep and strong. There are the little touches that add the stamp of character and worth. The art of achievement is the art of making life-your life-a masterpiece.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
Only now I'm learning to enjoy not being in charge of what the next stroke will do to the whole painting. I'm still learning that there are no mistakes, only discoveries.
I sit for two or three hours and then in 15 minutes I can do a painting, but that's part of it. You have to get ready and decide to jump up and do it; you build yourself up psychologically, and so painting has no time for brush. Brush is boring, you give it and all of a sudden it's dry, you have to go. Before you cut the thought, you know?
I'm in deep in everything, every moment of the day. I create the systems and oversee every aspect of the execution. Every mark on a sculpture and every brush-stroke on a painting is in a controlled situation, exactly as they'd be if I'd have done them myself.
It's true, I do sometimes suspend myself over the canvas, but mostly I work at a table when I'm making a painting. When I use 'The Rig,' my feet are firmly anchored. I lower myself horizontally just long enough to make a brush stroke - a matter of seconds - and then I'm upright again. My assistant then erases the painting quickly with a squeegee and I go for it again... until I get it right. It's like trying to hit a home run.
In traditional Asian arts, the word and the picture always sit next to each other. I have an aunt, a Chinese brush painter, who told me that when you do a Chinese brush painting, you have to pair the image up with some poetry.
To be honest, that whole exchange with Crunk Feminist actually made me write the song because I realize there's a lot of young women out there so hurt by the misogynistic images in hip-hop they paint it with such a broad brush stroke that they think anybody that defends hip-hop is defending misogyny.
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