A Quote by Michael Craig-Martin
In the studio, it took me a long time to work out how to make paintings that had the intensity that I was able to create by painting whole rooms. There is a very limited number of colours but there are many variations. I decided to use the purest palette that I could.
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There have been many, many paintings of Theseus and the Minotaur, as it is one of the more popular myths, so how could I make mine different and new? I decided it would be best to make the most dynamic painting I could. I wanted to capture the moment right before the Minotaur's horn was snapped.
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.
I was in a very lucky position to be able to consider studio films and had decided to not go that route for a very long time until I read a script that I loved called 'Aeon Flux.'
We are all hostages of time. We each have the same number of minutes and hours to live within a day, yet to me it didn't feel equally doled out. My illness brought me such an abundance of time that time was nearly all I had. My friends had so little time that I often wished I could give them what time I could not use. It was perplexing how in losing health I had gained something so coveted but to so little purpose.
How obvious it is that color has its various connotations-hue, value, and intensity - and without the basic understanding of these three determining factors, we are somewhat limited in the proper use of color in rooms.
The first exhibition that I used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the exhibition, I saw they came with a smile. Everybody smiles - this is something I never saw in my work before.
I look at my paintings for a very long time before letting them out of my studio. I like to get on the treadmill and look around at all of my paintings while I exercise. I try to stare them down to make them reveal their weaknesses. If they reveal weaknesses, they get repainted.
All the earth colours of the painter's palette are out there in the many miles of badlands.
If you are someone like Jeff Koons, and you have to work out how to make a big chrome heart or something, then there are lots of people and a big production involved. The money is more natural somehow. For me, I am just on my own in the studio, trying to make things work. One thing is sure: it doesn't make painting any easier.
I had been wanting to work out with a trainer for a very long time. I always had a good cardio regimen, but I didn't know how to tone up or use weights properly - and I wasn't sure where to start.
When I am in New York, you know, my studio is big, about 20,000 to 25,000 square feet, and I have painting rooms and rooms I do etching in, rooms I do lithographs.
I do have great respect for painting, but I am definitely not a painter. I make drawings of paintings, and I'm jealous of painting for sure, but, for me, the paper gives my work a limit.
When HSBC took the painting out of their building, they had to block the road and use a crane to bring the painting out from the window. They spent about 20,000 dollars just to get the painting out of the building! They said not to bring it back, and told Sotheby's to sell it immediately!
Make the right decisions and play football for as long as you can because there is a limited number of snaps you'll be able to take over the course of your career. Enjoy the whole thing though, because it's really fun.
I had been painting Kate Moss for a long time, both before the time of her crisis and during it. I felt very strongly for her - she's a hard-working mum and it seemed as if suddenly the world turned against her. Holy water cannot help you now is painted in very warm pretty colours.
Writing plays supplied for me everything that painting didn't, which is the ability to tell stories in real time, in a real space, in three dimensions, in flesh and blood. I realized I had been trying to cram all this narrative into my paintings, but ultimately painting was a static medium. So it just opened up this whole new door.
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