A Quote by Philip Jones Griffiths
People believe pictures. It's a photograph that's in your passport, not a painting. Now,
George Bernard Shaw said, 'I would exchange every painting of Christ for one snapshot.' That's what the power of photography is.
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I would exchange every painting of Christ for one snapshot.
While browsing in a second-hand bookshop one day, George Bernard Shaw was amused to find a copy of one of his own works which he himself had inscribed for a friend: "To ----, with esteem, George Bernard Shaw." He immediately purchased the book and returned it to the friend with a second inscription: "With renewed esteem, George Bernard Shaw.
I think we seem to remember things in still pictures. I never gave up on painting. When they said painting was dead, I just thought, Well, that's all about photography, and photography's not that interesting, and it's changing anyway.
When painting portraits a lot of people say, 'Why not get a photograph of the person?' Photography is wonderful and it is an art form in itself, but... my portrait is a culmination of elements... a truer image of a person than just the 'click' of a snapshot.
If you ask people to remember a painting and a photograph, their description of the photograph is far more accurate than that of the painting. Strangely enough, there is a physical element intertwined with the painting. It shakes loose an emotional element within the viewer.
Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.
As far as the surface is concerned - oil on canvas, conventionally applied - my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.
For me, going back to itinerant landscape painting, it's not about returning to an older method, but about building on what happened in the 20th century in photography. And also highlighting what the differences are between a painting and a photograph in picturing space.
Painting is traditional but for me that doesn't mean the academy. I felt a need to paint; I love painting. It was something natural - as is listening to music or playing an instrument for some people. For this reason I searched for themes of my era and my generation. Photography offered this, so I chose it as a medium for painting.
Photography brought a lot to painting because it forced artists to think about what painting could do that photography couldn't.
George Bernard Shaw said that thinking was the greatest of all human endeavors, but I would say that feeling was. Allowing yourself to feel things, to feel love or wrath, hatred, rage.
Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
For example, in one of my last exhibitions I had a 50-foot massive painting with I think perhaps a hundred thousand hand-painted small flowers. This was the Christ painting [The Dead Christ in the Tomb, 2008] in my Down exhibition [2008]. Now, I simply can't spend eight hours a day painting small, identical flowers. And so I've got a team that allows me to have these grand, sweeping statements.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.
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