A Quote by Paul Emsley
I'm interested in the landscape of the face, the way in which light and shadow fall across the forms. That's really my subject matter.
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Very great charm of shadow and light is to be found in the faces of those who sit in the doors of dark houses. The eye of the spectator sees that part of the face which is in shadow lost in the darkness of the house, and that part of the face which is lit draws its brilliancy from the splendour of the sky. From this intensification of light and shade the face gains greatly in relief and beauty by showing the subtlest shadows in the light part and the subtlest lights in the dark part.
The beginnings and ends of shadow lie between the light and darkness and may be infinitely diminished and infinitely increased. Shadow is the means by which bodies display their form. The forms of bodies could not be understood in detail but for shadow.
Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.
We are, in fact, hyper-dimentional objects of some sort which cast a shadow into matter, and the shadow in matter is the body. And at death, what happens basically, is that the shadow withdraws, or the thing which cast the shadow withdraws, and metabolism ceases, and matter which had been organized into a dissipative structure in a very localized area, sustaining itself against entropy by cycling material in and degrading it and expelling it, that whole phenomenon ceases, but the thing which ordered it is not affected by that.
Dramatic use of color, harmonious design, the interplay of light and shadow across a variety of textures, the portrayal of the figure and other subject matter that reflects the sophistication and beauty I find in nature - all presented from a unique point of view - can only be successfully achieved with a sound command of the painter's craft... history will determine how successful I have been.
Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician.
Every life has a death, and every light a shadow. Be content to stand in the light, and let the shadow fall where it will.
The pleasure a man gets from a landscape would [not] last long if he were convinced a priori that the forms and colors he sees are just forms and colors, that all structures in which they play a role are purely subjective and have no relation whatsoever to any meaningful order or totality, that they simply and necessarily express nothing....No walk through the landscape is necessary any longer; and thus the very concept of landscape as experienced by a pedestrian becomes meaningless and arbitrary. Landscape deteriorates altogether into landscaping.
It's the subject matter that counts. I'm interested in revealing the subject in a new way to intensify it. A photo is able to capture a moment that people can't always see.
I always love it best when you have a project where there is this commingling of the subject matter and the way in which you're recording that subject matter.
When a shadow flits across the landscape of the soul where is the substance?
Today's photographers think differently. Many can't see real light anymore. They think only in terms of strobe - sure, it all looks beautiful but it's not really seeing. If you have the eyes to see it, the nuances of light are already there on the subject's face. If your thinking is confined to strobe light sources, your palette becomes very mean - which is the reason I photograph only in available light.
Communication has changed so rapidly in the last 20 years, it's almost impossible to predict what might occur even in the next decade. E-mail, which now sends data hurtling across vast distances at the speed of light, has replaced primitive forms of communication such as smoke signals, which sent data hurtling across vast distances at the speed of light.
Critic asks: 'And what, sir, is the subject matter of that painting?' - 'The subject matter, my dear good fellow, is the light.
I sense Light as the giver of all presences, and material as spent Light. What is made by Light casts a shadow, and the shadow belongs to Light.
I'm not really sure what social message my art carries, if any. And I don't really want it to carry one. I'm not interested in the subject matter to try to teach society anything, or to try to better our world in any way.
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