A Quote by Richard Diebenkorn
I have found in my still-life work that I seem to be able to tell what objects are important to me by what tends to stay in the painting as it develops.
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How could I tell the doctor what was wrong with me? I didn't understand it myself. I couldn't articulate the pain; it was the pain of nothingness. My fear was of the weather, the atmosphere, the very air. What good did safety tips do me now? 'Avoid water, metal objects, rooftops; stay off the telephone in a storm, don't think glass can protect you; even if a storm was 8 miles away, you're still not safe from a strike. Avoid life perhaps that was the answer. The number one safety tip, stay away from it all.
I love the life of objects. When the children go to bed, the objects come to life. I like to tell stories about the life of inanimate objects.
My still-life painting has more to do with light and shadow than with the objects themselves.
Painting from life was incredibly important for me because it allowed me to train my eyes to see everything that is there. But I realized early on that painting from life wasn't something that I was all that invested in. I was always more interested in the painting than I was the people. For me, removing that as a compulsion offered me a lot more freedom to actually paint and think about color, form, movement, and light.
I'm a tireless worker; I don't consider painting a work, it is not an obligation, I do it for pleasure; I haven't found anything that amuses me more than painting.
All my life I have worked to be able to earn my living, but I thought that one could do good painting without attracting attention to one's private life. Certainly, an artist wishes to raise himself intellectually as much as possible, but the man must remain obscure. The pleasure must be found in the work.
Now all the mute objects of my life seem to tell my story, to stretch back in time, if I look closely enough.
If the economy of a country collapses completely and the hospitals are no longer able to function as hospitals, it will be very difficult to tell every doctor to stay home to work without drugs, to work without equipment. You might tell some to stay but there a lot of young people who are at the beginning of their careers who would be very difficult to persuade.
For me, it is important to win titles and for that I need to work hard, stay healthy and be able to compete. The rest, I always say, it comes.
Maybe the given person, cup, or landscape is lost before one gets to painting. A figure exerts a continuing and unspecified influence on a painting as the canvas develops. The represented forms are loaded with psychological feeling. It can't ever just be painting.
Painting is not what my life is about, but it is very important to me, and I am very lucky to be able to give some time to it.
Fuzzy logic will produce a computer that will even seem to have a personality. It will seem to have a character. It will be able to talk to you. It will be able to translate from one language to another instantaneously. You will be able to give it instructions. You will be able to tell it stories. If it doesn't understand something, it will ask you.
I found I have to stay painting.
I try to stay away from the craft services table on set! That's probably why I am able to still get work in this business: I stay away from junk food.
With experience it seems to be possible to control the flow of paint, to a great extent, and I don't use - I don't use the accident - 'cause I deny the accident... it's quite different from working, say, from a still life where you set up objects and work directly from them. I do have a general notion of what I'm about and what the results will be. I approach painting in the same sense as one approaches drawing, that is, it's direct.
For my tribe, the people I found years ago, we've found sanctuary in the irreverent, in the off-center, in the quirky... And that's how we stay entertained, and that's how we stay engaged in what would otherwise seem to be a really cruel world. A really harsh world.
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