A Quote by Paul Strisik

If you're not excited about the subject, the viewer won't be either. — © Paul Strisik
If you're not excited about the subject, the viewer won't be either.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
A lot of the pieces I've done over the years have involved alterations of scale and the idea of the viewer's relationship to the object and how we see things by either enlarging or reducing objects, it causes the viewer to look at them again. It's hard to do because our culture is so bombarded by images and media. How do you make something fresh for a viewer? That's a real challenge.
When it comes to viewer's choice, each film counts. Moreover, it's important to enjoy the work that I do. Thus, it is important that I am excited about the films I sign.
As an interviewer, I don't think you can dance around the subject. Certainly the interview subject knows if you are dancing, and the viewer knows that you are dancing. If it's a hard question, you just have to ask it.
I'm not going to let people get away with either a dishonest or inaccurate premise to what we're talking about because I think that does the viewer a disturbance.
I understand all the work to be of a nonabstract nature regardless of the style, form, or explicit subject matter because all the work... is concerned with evoking experiences that are in themselves - and their relationship to you, the viewer - the ultimate subject and content of the work. I want to equate the experience of the work with its meaning.
I try to find a subject that is interesting to me and to the viewer both. If I can't, then I stop right there.
What I aspire to is to have the viewer look directly at the subject, as if they're looking through a window at the real thing.
The expectations of the viewer are what you're asking about. And the expectations of the viewer are manifold. However, they are very fixed, given who I am in the world. People have certain expectations of me as an artist.
I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.
I don't need to control the mind of my viewer. Now this might sound contradictory because I want to make these installations set up an environment that will produce a certain kind of experience in the viewer, but beyond a certain point, I take hands off and leave it up to chance and personal experience. So maybe it's a marriage of control and no control we're talking about where the artist produces the artifact or the environment and then walks away from it, and the second half of the equation is the viewer and their personal history and how they feel about what they're experiencing.
Photography is always a kind of stealing. A theft from the subject. Artists are assaulters in a lot of ways, and the viewer is complicit in that assault.
"Stupid English." "English isn't stupid," I say. "Well, my English teacher is." He makes a face. "Mr. Franklin assigned an essay about our favorite subject, and I wanted to write about lunch, but he won't let me." "Why not?" "He says lunch isn't a subject." I glance at him. "It isn't." "Well," Jacob says, "it's not a predicate, either. Shouldn't he know that?"
There's a difference between being excited about a trend and being excited about what God is already excited about.
I just love life. I'm excited about things in life. I think that if you're excited about life, you are excited about waking up and doing things with your life every day.
The power and appeal of Documentary is the way it alters and plays with the way the viewer relates to and understands the subject.
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