A Quote by Nelson Shanks
I almost never do drawings, because I have found over the years that doing something in one medium and translating into another doesn't work. I like to conceive a painting in real scale and in color.
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I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting.
I have made a solemn vow never to send my drawings because people have cheated me. In particular, just today I found... that, having done a drawing of souls in Purgatory for the Bishop of St. Gata, he, in order to spend less, commissioned another painter to do the painting using my work. If I were a man, I can't imagine it would have turned out this way.
I like the drawings. And as a photography fan myself, I would look at Helmut Newton or Irving Penn and like to see the initial notes or drawings, to see where the ideas grew from. Also my sketches are key to my work because I came to realise early on that by doing drawings, I could formulate a plan of what I was thinking of - I could take control and direct the work.
I like to write about painting because I think visually. I see my writing as blocks of color before it forms itself. I think I also care about painting because I'm not musical. Painting to me is not a metaphor for writing, but something people do that can never be reduced to words.
I think every once in a while I feel the need to break my medium... if I have been doing a very large painting I like to drop into something in small scale. It is a challenge to go into this size. It is just to hold my own interest, and then each media has its own conditions.
If you paint a building shocking pink, that has no scale, it is just a huge mistake, but it's not in the scale of the city to have things like that. You know. So, not only because it's not appropriate, not only because it's offensive to the environment, I mean but among them also because that quantity of that color in the urban scale, is out of scale.
The question I ask myself when adapting a book is how do I be true to the spirit and soul of the character? How would I describe this character in my medium? If you asked one person to do a painting of something and another to create a sculpture of it, you'll never ask, 'Why doesn't the painting look like the sculpture?'
All my work begins with drawings. I don’t labor over my drawings. I want to get freedom in the line. I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.
In visual perception a color is almost never seen as it really is - as it physically is. This fact makes color the most relative medium in art.
For years, I'd say yes to almost everything, trying to be nice and generous. Feeling obliged to be of service to the world. Maybe also a fear of being forgotten if I don't. But I paid the ultimate price in doing that, because for all those years, I got almost no work done! Some famous authors have written about this: that if they said yes to every request, then they'd never have time to write another book again.
The truth is that painting is all about scale; you use scale to create experience. A lot of artists have lost that ability. They don't even know that's something they should be doing.
Painting should educate and enrich. Modern painting merely offers a split-second emotion: You see it, you have an instant reaction and move on. Instead, real painting can be looked at over and over again and each time it has something new.
Painting is drawing, with the additional means of color. Painting without drawing is just 'coloriness,' color excitement. To think of color for color's sake is like thinking of sound for sound's sake. Color is like music. The palette is an instrument that can be orchestrated to build form.
You get the idea. Every business, like a painting, operates according to its own rules. There are many ways to run a successful company. What works once may never work again. What everyone tells you never to do may just work, once. There are no rules. You don't learn to walk by following rules. You learn by doing, and by falling over, and it's because you fall over that you learn to save yourself from falling over. It's the greatest thrill in the world and it runs away screaming at the first sight of bullet points.
Painting is a medium in which the mind can actualize itself; it is a medium of thought. Thus painting, like music, tends to become its own content.
There does seem to be a sense in which physics has gone beyond what human intuition can understand. We shouldn't be too surprised about that because we're evolved to understand things that move at a medium pace at a medium scale. We can't cope with the very tiny scale of quantum physics or the very large scale of relativity.
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