A Quote by Vincent Van Gogh
I'm now painting with all the elan of a Marseillais eating soup, which won't surprise you when I tell you I'm painting large sunflowers. The idea? To decorate the studio, now there's hope of Gauguin living here. I aim at a dozen panels of sunflowers in the room I've set aside for Gauguin.
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I am working with the enthusiasm of a man from Marseilles eating bouillabaisse, which shouldn't come as a surprise to you because I am busy painting huge sunflowers.
In April, we cannot see sunflowers in France, so we might say the sunflowers do not exist. But the local farmers have already planted thousands of seeds, and when they look at the bare hills, they may be able to see the sunflowers already. The sunflowers are there. They lack only the conditions of sun, heat, rain and July. Just because we cannot see them does not mean that they do not exist.
I am painting with the same enthusiasm as a Marseillaise eats bouillabaisse ... I am painting big sunflowers.
Paul Gauguin asked, "Whence do we come? What are we? Where are we going?" Well, I don't know about anyone else, but I came from my room, I'm a kid with big plans, and I'm going outside! See ya later!.. Say, who the heck is Paul Gauguin anyway?
We learned from Gauguin that every work of art is a transposition, a caricature, a passionate equivalent of a sensation which has been experienced. He freed us from all restraints which the idea of copying naturally placed on our painter's instincts. All artists are now free to express their own personality.
I don't know why, but I love sunflowers, and I just have this vivid memory of being in a field of sunflowers and how they felt like trees. They felt so tall.
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
I studied all about Gauguin. He was a banker. He was a banker who - he used to paint on Sundays. And one day he hated himself for painting on Sundays.
The form of my painting is the content. My work is made of single or multiple panels: rectangle, curved, or square. I am less interested in marks on the panels than the 'presence' of the panels themselves. In Red Yellow Blue III the square panels present color. It was made to exist forever in the present; it is an idea and can be repeated anytime in the future.
The invention of photography has dealt a mortal blow to the old modes of expression, in painting as well as in poetry, where automatic writing, which appeared at the end of the nineteenth century, is a true photography of thought. Since a blind instrument now assured artists of achieving the aim they had set themselves up to that time, they now aspired, not without recklessness, to break with the imitation of appearances.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
Studio Ghosts: When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out.
The thing is that the money issue looms so large in art now. And it has absolutely nothing to do with art. If you're painting goes for ten grand or a hundred grand, it doesn't make painting any easier. And it doesn't make the painting any better if it goes for a hundred grand.
Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.
Photoshop came out of painting, and now it's going back to painting.
We're not our skin of grime, we're not our dread bleak dusty imageless locomotive, we're all beautiful golden sunflowers inside, we're blessed by our own seed & hairy naked accomplishment-bodies growing into mad black formal sunflowers in the sunset, spied on by our eyes under the shadow of the mad locomotive riverbank sunset Frisco hilly tincan evening sitdown vision.
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