A Quote by Will Cotton

When I first started painting candyland imagery, I was looking for the best possible metaphor for everything that is pleasure, desire and insatiability. — © Will Cotton
When I first started painting candyland imagery, I was looking for the best possible metaphor for everything that is pleasure, desire and insatiability.
If you go to a concert, you will notice, is it loud? Is the music fast? Is it predominately strings or brass? There are things we can all register, whether we are musicians or not. Painting's no different. Taking pleasure in projecting oneself into the painting is the act of looking. That's what looking is.
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.
I happen to be a twin. I grew up half of my life with someone who looks and sounds like me. And I believe it's possible to hold twin desires in your head, such as the desire to create painting and destroy painting at once. The desire to look at a black American culture as underserved, in need of representation, a desire to mine that said culture and to lay its parts bare and look at it almost clinically.
I started playing instruments before I started making beats, and I was never the best guitarist or the best pianist or the best drummer. And when I started making beats, I was not the best beatmaker, and when I started making hooks, I was not the best vocal melody person. When I first started rapping, I wasn't the best rapper at all.
I've been attracted to imagery and occasionally I've drawn from it, but I never thought I'd be painting these paintings. I didn't have any desire to. I didn't think there was any reason to.
For the rational, psychologically healthy man, the desire for pleasure is the desire to celebrate his control over reality. For the neurotic, the desire for pleasure is the desire to escape from reality.
I remember when I started writing lyrics, I was very grand. I tried to use a lot of symbols,because I thought that's how songwriting should be - with imagery and metaphor. I figured, after a while, maybe I should just write it as I would say in real life.
I equate inspiration with desire ? the desire that moves us to be artists in the first place. To attempt to make a painting without this motivation is a waste of time.
I first read Sigmund Freud's 'Beyond the Pleasure Principle' as a young girl, and it helped me to understand that there are thousands of possible ways to interpret our experience, that everything has a meaning, and that interpretation is the key to reality. This was the first step to becoming a writer.
I don't have the desire to be the best standup in the UK but I do have the desire to be the best at everything else I do in terms of writing and acting.
Barcelona is the best club in the world, and I am looking forward to playing with some of the best players in the world, such as Luis Suarez and Lionel Messi. I will do everything possible to contribute to this team.
Lets tell young people the best books are yet to written; the best painting, the best government the best of everything is yet to be done by them.
I would say that the emblematic photographic image is a picture from inside a room looking out. I think this defines photography. It's the metaphor for the notion of first sight. What one saw first.
It is important to distinguish between sense-pleasure and sense-desire. There is nothing wrong with sense-pleasure. Pleasure and pain are part of our human experience. Sense-desire, on the other hand, is the grasping at pleasure or the avoidance of pain. This is what creates suffering-grasping and avoidance.
Let's talk about the artist's desire to go beyond the pictorial or the representational and the desire to create the abstract - the idea that painting can go beyond what is seen. What we found is that, increasingly, painting became about paint, its own material truth. When I'm talking about the way that we look at others and the way that we see ourselves increasingly, looking at others becomes its own material truth.
I come from an era where lyrics were full of imagery and metaphor, and that's all I know. I think people miss that.
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