A Quote by Marcel Dzama
I use dull colors in my drawings because I started out using a root beer base because it seemed like an interesting idea and when it turned out that it worked quite well as an ink I started using other colors that would compliment it.
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I use dull colors in my drawings because I started out using a root beer base, because it seemed like an interesting idea, and when it turned out that it worked quite well as an ink, I started using other colors that would complement it, like grays from Higgins black writing ink and, more recently, Dr. P.H. Martin's olive green and vermilion.
She feels like kicking out all the windows
And setting fire to this life
She could change everything about her using colors bold and bright
But all the colors mix together - to grey
'Color' is quite different from 'colors.' In an image with many colors, we find that all the colors compete with each other rather than interacting with each other. The results" colors.
I like to use really basic or classic colors, things that people have seen over and over and over again. Primary colors, at least in photography, have been around a lot longer than neon colors and really vibrant purples, hot pinks. Red, blue, yellow, orange - because of Kodachrome and the way that things were produced I think that those colors stood out more than any others.
I can almost see the music. It comes in the form of colors - colors jump out at me, and that translates into notes. They come fully formed: the orchestration parts, not just the melodies. Even though they're not always the right ones to use, the initial idea comes like that.
Words in the mind are like colors on the palette of the artist. The more colors we have access to, the easier it is to create a captivating picture on the canvas, and the more practice we give to using those many colors appropriately and uniquely, the more likely we will be to create a masterpiece of self expression.
Before I started LimoLand, I mainly bought my clothes in Harlem, where I found clothing my size in fun colors. I still like to go there and see the vibrancy and colors of the neighborhood. I am also very influenced by the colors of my contemporary African and Japanese art collections.
Looking at the data and at my drug use and evaluating it carefully just let me see that I wasn't special, but my drug use challenged what I thought about cocaine. Because I would accept when I would say, "What happened to that person?" and someone would say, "They started using cocaine...they went downhill..." I would just accept that, even though I had a different experience and all these other people had a different experience. But I would throw that out because I thought my experience was an aberration.
In the 1980s, I was quite well known for my knitwear, and a lot of inspiration came from carpets, where I found ways to use structures and colors and depth of colors.
Tak Fujimoto and I, when we started getting enough of a budget where we could afford the right lenses - 'cause we started out doing low-budget pictures together - we started experimenting with this subjective camera thing. And we kind of fell in love with the idea of using that as our close-up.
The rainbow is a part of nature, and you have to be in the right place to see it. It's beautiful, all of the colors, even the colors you can't see. That really fit us as a people because we are all of the colors. Our sexuality is all of the colors. We are all the genders, races, and ages.
I stopped using Twitter for a while just because I got sick of it and I started using it again, but I don't check the "mentions."
I teased Randy Orton because he started using my finish, the Angle Slam. I said, 'Hey, I don't mind you using it, but at least give it a name.' When he hits it, the announcers just say, 'Well, he just hit that... thing.'
In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.
When I was in college I thought of making up a fictive artist and giving him a name and a body of work. Eventually I came around to the idea of using my own name, which had this strange distancing effect, similar to using a found object. Being a Turk was quite interesting because in a sense it was like being a foreigner.
When I started out, the idea of wearing interesting clothes seemed to contradict the idea of being a serious artist. The first Moloko record, 'Do You Like My Tight Sweater?' was kind of a reaction to all that.
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