A Quote by Patrick Wilson
Somebody can paint with a fine brush like Monet and do millions of little dots or somebody can splatter it up there like Kandinsky or Jackson Pollock and go "Yep, that's art." That's okay.
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If you pick up some paint with your brush and make somebody's nose with it, this is rather ridiculous when you think of it, theoretically or philosophically. It's really absurd to make an image, like a human image, with paint, today.
The key to empowerment is no more complicated than what Jesse Jackson said, 'We are somebody.' But the 'We are somebody' I would like to be in the larger sense: not just the urban African-American but homo sapiens in general - We are somebody.
What's bad for the culture is wack rappers that get held in high regard like they're some great thing because it's the flavor of the month, but everybody knows they can't rap. I don't think it's hard, even for somebody who's not hip-hop, to know that that's not good. When you put them up against somebody that can really rhyme, you go, "Okay, I get it. This is what it should sound like."
I'm in total celebrity denial in general, but there's awareness that probably if somebody has met you, they might go and tell somebody. I just would rather have the word on the street stay at a neutral, not like, "She shows up in a ball gown," but "She seemed nice." That's fine.
I've never wanted to be a person where somebody would be like, 'I like her; she's okay.' Love or hate is fine, because it sells tickets.
Human connection is the way things work. It's like a patronage system. You know somebody, and he knows somebody, and he knows somebody, and he knows the district governor, and it's okay.
I think we're in an age where artists really have an incredible range of materials at their command now. They can use almost anything from household items - Jackson Pollock used house paint - to, you know, advanced computer systems, to good old oil paint and acrylic paint.
It's an honor to be able to tour with somebody I grew up listening to and somebody I look up to. When you're around somebody like E-40, all you can do is watch and learn, and soak up game.
If you perform on a stage or you sing a song, it's like you sing your song, and then the words go into the air, and then they go into somebody's body through their ears, so it's kind of like penetrating somebody. It's kind of like having sex with somebody - but, obviously, from a great distance.
The script is like music to me. I approach it like it's a musical piece and I hear how it's supposed to sound when people say the words. There's rhythms and there's intonations and things, and so, when somebody comes in and hits the notes that I hear, I go okay. Or, they come close enough, and then I'll say "Well how about you try it like this?" and if they have a good ear and they can pick it up, then I think okay, they've got it.
Malevich, Lissitsky, Kandinsky, Tatlin, Pevsner, Rodchenko... all believed in the social role of art... Their works were like hinged doors, connecting activity with activity. Art with engineering; music with painting; poetry with design; fine art with propaganda; photographs with typography; diagrams with action; the studio with the street.
I think that a lot of artists have succeeded in making what I might call "curator's art." Everybody's being accepted, and I always want to say, "Really? That's what you've come for? To make art that looks a lot like somebody else's art?" If I am thinking of somebody else's art in front of your art, that's a problem.
I like to go to places with my high-fashion things where there are a lot of cameras. So I can just go there and be like, 'Yep, yep, I'm looking so sick.' But in my regular life, I put on clothes that I can climb trees in.
I'm a postmodern commentator, and so, in a cheeky parallel to James Joyce or James Kelman, I get to places, verbally, that are a little unusual - when I talk about Jocky Wilson and end up sounding like a Jackson Pollock of the commentary box.
All my life I've felt like somebody's wife, or somebody's mother or somebody's daughter. Even all the time we were together, I never knew who I was. And that's why I had to go away. And in California, I think I found myself.
Things come up from the outside, the outside world says, okay, you have do this, you have to go here and here and here, and these are your options. You can be here or you can be here. You can do this, or you can do this. You can go here, or you can go there. So each one of those things becomes a place of decision, and the way we make decisions is that we all get together and if somebody doesn't feel right about it or it doesn't seem to sit right, usually we'll go with the no vote. If somebody's not comfortable with it, we'll figure it's not going to be worth doing.
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