A Quote by Michael Chow
There's a difference between craft and painting. Craft, your job is to make it exactly the same every time. Painting is the opposite, but in painting there is some craftsmanship, which is called technique. But technique is spontaneous. That's the treasure, the most important part. You are in it.
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I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
Experience has proved that there is no difference between a so-called realist painting - of a landscape, for example - and an abstract painting. They both have more or less the same effect on the observer.
The vast amount of time it takes to make my paintings is very challenging. I have so many exciting ideas I would love to bring to a final painting, but my time-consuming technique limits the number of ideas that get to become a painting.
A painting is merely the image of a tree, a man, or any other object reflected in a fountain. The difference between a painting and sculpture is the difference between a shadow and the thing which casts it.
I'm not anti conceptual art. I don't think painting must be revived, exactly. Art reflects life, and our lives are full of algorithms, so a lot of people are going to want to make art that's like an algorithm. But my language is painting, and painting is the opposite of that. There's something primal about it. It's innate, the need to make marks. That's why, when you're a child, you scribble.
When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.
The only craft and technique you have legitimate access to is the craft and technique you forgot, that has dissolved itself into the unconscious... Because you have learned it so well you have forgotten it.
When it comes to partnership, some humans can make their lives alone - it's possible. But creatively, it's more like painting: you can't just use the same colours in every painting. It's just not an option. You can't take the same photograph every time and live with art forms with no differences.
Having a background in doing printmaking and letterpress, I think that I became very interested in images that were flat and graphic. And my painting still today is very flat...American craft is like that too - the painting is very flat. And also the painting that you see on the storefronts, handmade signs, tend to be very flat. That's probably my biggest influence.
I think a good painting or a good work of art does many things it wants, I mean, maybe 15 or 20 or 100. One of the things a painting does is to make the room look better. It improves the wall that it's on. Which is much harder than it looks. And that's a good thing. And if one engages with a painting on that level, that's fine, that's great. After some time, familiarity, the other things that a painting does, the other layers, they just start to make themselves felt.
I think, at the L.A. County Museum of Art, I saw my first example of Kerry James Marshall, who had a very sort of heroic, oversized painting of black men in a barbershop. But it was painted on the same level and with the same urgency that you would see in a grand-scale [Anthony] van Dyck or [Diego] Velazquez. The composition was classically informed; the painting technique was masterful. And it was something that really inspired me because, you know, these were images of young, black men in painting on the museum walls of one of the more sanctified and sacred institutions in Los Angeles.
When you talk about painters and you talk about painters painting masterpieces, there is no painter who painted only one painting and that was a masterpiece. You have to do a whole bunch of paintings to get to the place of mastering your craft.
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
I was at an art museum with my parents, and was quite taken with a [Vincent] Van Gogh painting. I stood admiring the painting for some time, and then realized that in addition to feeling moved by the beauty of the painting, I felt a little jealous of the painter.
I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
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