A Quote by Walter J. Phillips
In painting, whether colour reflection is apparent or not, every hue must echo neighbouring hues, so that homogeneity may be attained.
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The thing that a lot of people may or may not know is every artist is a cinephile, whether they watch movies whether they're painting, or have films that influence them.
In some Mayan villages they even have a stage beyond the elder that they call the Echo Person. They say that when an Echo Person, whether a man or a woman, speaks, the words echo both in this world and in the other world. That's why they are called Echo People.
End rhymes are not enough. Every word-sound in a poem should find an echo in another, neighbouring word's sound to achieve what Ezra Pound called melopoeia. (This is something like what the Welsh call Cynghanned.)
After tea it's back to painting - a large poplar at dusk with a gathering storm. From time to time instead of this evening painting session I go bowling in one of the neighbouring villages, but not very often.
I'm colour blind, a little hue-challenged.
Every painting I do is related to the last one: it may be a continuation of a previous painting or it may be a reaction against it.
But thou, my son, study to make prevail One colour in thy life, the hue of truth.
Painting is like breathing to me. It’s what I do all the time. Every day I make art, whether it is painting, writing or making a movie.
In most natural scenes there is a prevailing colour, which the landscape painter must learn to identify, and which must prevail also in a slightly exaggerated form, in his painting, for the sake of truth, harmony and unity.
Accurate drawing, accurate colour, is perhaps not the essential thing to aim at, because the reflection of reality in a mirror, if it could be caught, colour and all, would not be a picture at all, no more than a photograph.
Color is a major element in scale. A small room can have a larger look by the use of closely related values, hues, and intensity. A large room can be made to look smaller by marked contrasts of color and value, hue, and intensity. Value is one of the most important elements. Whether light or dark, little value contrast makes for unity, and sharper contrast makes for stronger punctuation.
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
When realistic images or patterns are seen in an abstract painting, they are often parallels brought about by processes in painting which echo processes in nature.
The ideal garden is one in which a collection of trees, shrubs and plants have been procured and allotted to the best space available and are so arranged and tended that they are seen to their advantage, each in relation to the other. Every plant, of whatever shape or size, should be chosen not only for its individual merits but for its power to enhance the charms of neighbouring plants by contrast or combination in foliage or in flower colour.
Painting has always been a means of self-expression for me. Therefore, I paint because I have to and need to, not necessarily because I want to. Subconsciously or not, the figures I paint are a reflection of myself and whatever mood I am in at the time, so every painting is in essence a self-portrait.
I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc.
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