A Quote by Olivo Barbieri
I am no longer interested in seeing and knowing everything all at once in my work. Technically I select the area of focus and if it's possible I try to make an amalgamation of every shape and color in the picture so that it acquires a circular movement: from representation to abstraction, from life to death, and vice-versa.
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Memory is like fiction; or else it's fiction that's like memory. This really came home to me once I started writing fiction, that memory seemd a kind of fiction, or vice versa. Either way, no matter how hard you try to put everything neatly into shape, the context wanders this way and that, until finally the context isn't even there anymore... Warm with life, hopeless unstable.
Yeah, I associate every sound with a color and vice versa.
I've never read a book on shape. I've read books on gesture; I've read tons of books on color, surface, field, ground, representation, abstraction. But I've never read a book on what a shape is.
A picture was a motionless record of motion. An arrested representation of life. A picture was the kiss of death pretending to possess immutability.
I try to do everything as soon as possible, and not at the last moment. This ensures that, when I am overburdened with work, I will not face the added pressure of knowing that something is still to be done.
I think every actor should direct at least once and vice versa.
Let's just try to have a marvelous time this weekend. I mean not try to analyze everything to death for once, if possible. Especially me. I love you.
I support everything every single person in my family does and vice versa.
I am never in a hurry to reach details. First and above all I am interested in the large masses and the general character of a picture; when these are well established, then I try for subtleties of form and color. I rework the painting constantly and freely, and without any systematic method.
Every now and then I will play; I try to focus on charitable work. I might do it because it's an offer I can't refuse, so I rally and try to stay in shape and keep myself active.
Death does determine life. Once life is finished it acquires a sense; up to that point it has not got a sense; its sense is suspended and therefore ambiguous. However, to be sincere I must add that for me death is important only if it is not justified and rationalized by reason. For me death is the maximum of epicness and death.
The difficulty with color is to go beyond the fact that it's color ? to have it be not just a colorful picture but really be a picture about something. It's difficult. So often color gets caught up in color, and it becomes merly decorative. Some photographers use it brilliantly to make visual statements combining color and content; otherwise it is empty.
Whatever we say and mean by life is just a journey toward death. If you can understand that your whole life is just a journey and nothing else, then you are less interested in life and more interested in death. And once someone becomes more interested in death, he can go deep into the very depths of life; otherwise, he is just going to remain on the surface.
I have never gone into a picture without first studying my characterization from all angles. I make a study of the fellow's life and try to learn everything about him, including the conditions under which he came into this world, his parentage, his environment, his social status, and the things in which he is interested. Then I attempt to get his mental attitude as much as possible.
Humans are very aggressive and scrappy, and go to war at the drop of a hat. However, a standard land war is no longer going to work as it is no longer technically possible.
The tone of the picture and the atmosphere was in my head and in my blood in a way once I'd decided to make the picture. I had to find my way through that to choose, select, emphasise certain visual elements and sound.
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