A Quote by Robert Rauschenberg
I want my paintings to look like what's going on outside my window rather than what's inside my studio.
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A window looks outside, but a painting should do the opposite - it should look inside of us. When I put them in the middle of the room, I attach the paintings at the top to the ceiling and on the bottom to the floor. I prefer this to just hanging them from the ceiling because it creates a place in a space, like a wall.
I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall.
I like cycling and swimming and walking everywhere. I'm not going to the gym. I like being outside rather than inside a room.
I don't like working in a studio, at all. I just prefer to be on location, rather than hearing the bells of the studio going off. It's like being in Las Vegas, where no one knows the time and there are no windows.
Fame it's like... When you look through a window, say you pass a little pub, or an inn. You look through the window and you see people talking and carrying on. You,can watch outside the window and see them all being very real with each other. But when you walk into the room, it's over. I don't pay any attention to it.
When I was a boy, I choked on a piece of candy outside the kitchen window for a few minutes while watching my parents making dinner. I thought I was going to die, but I didn't want to scare them. Our existence was so separate, a dying and a doing well, an outside and an inside. Trey Moody's poems hover in that cold, wet, refrigerator-lit place between the dying and the doing well, the outside and the inside. His poems are the thoughts of the person you love who is always standing behind you, slowly and silently suffocating. But they're not afraid to say hello, and please, and I'm scared.
Seeing what you want from life from the inside out, rather than from the outside in, is the most important thing.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
The mind self-edits. The mind airbrushes. It's a different thing to be inside a body than outside. From outside, you can look, inspect, compare. From inside there is no comparison.
If you look at Paleolithic cave paintings, you see how people were depicted inside nature, not outside it. It was a kind of dream time. That's what I'm exploring.
I like being able to be on the inside of music, rather than on the outside listening to it.
I know that I want to concentrate more on my inside-pretty than my outside-pretty, because thats gonna go away. But if your inside is beautiful, it never wears away. The light always shows on the outside if you are striving to be good inside.
I look at my paintings for a very long time before letting them out of my studio. I like to get on the treadmill and look around at all of my paintings while I exercise. I try to stare them down to make them reveal their weaknesses. If they reveal weaknesses, they get repainted.
The point they (Lissitzky, Rodchenko, Tatlin, Gabo, the neo-Plasticists, and so on) all had in common was to be inside and outside at the same time. For me, to be inside and outside is to be in an unheated studio with broken windows in the winter, or taking a nap on somebody's porch in the summer.
I'm actually more comfortable playing the stroke victim or the girl with no makeup on, looking scruffy and it's all about what's going on inside rather than on the outside.
The thing that fiction can do is look from the inside out rather than from the outside in. Even memoir leaves me somewhat frustrated. I think now we need a poet to uncover what isn't on the surface.
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