A Quote by William T. Wiley
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.
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Being a creative person, I'm naturally drawn towards art of any kind. But I'm more attracted to paintings because they radiate an aura of their own.
There are so many fantastic roles, but the ones that have always drawn me to them are the loners who, for whatever reason, never quite fit in and knew it and had to find their own way. I've always been drawn to that, for some reason. I've always been drawn to that sad, isolated place, but what it produces in behavior is something else, entirely. For whatever reason, I'm drawn to these people. Essentially, I think what draws me is that they are survivors against rather considerable odds.
I was working in this very bombastic style. I didn't really know about style. I didn't think about it: I did what I was interested in, what I was attracted to, what I was drawn to. I was drawn to color, and I was drawn to humor, and I was drawn to sexuality and spontaneity. It was all really intuitive. I never really thought, "Well this is the style...
It's not necessary for you to exacerbate your contrast with struggle in order to get it into a higher place. It is not necessary to suffer in order to give birth to desire. But when you have suffered and you have given birth to desire, so what? You've got a desire. Turn your attention to the desire. Think about where you're going and never mind where you've been. Don't spend any more time justifying any of that stuff -- Abraham
I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
I paint for the sheer joy of painting. I have never sold any of my paintings. I'd rather give them to people for free.
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.
The principle of the endless melody is the perpetual becoming of a music that never had any reason for starting, any more than it has any reason for ending.
I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I thought it was going to, and in fact I made, while still in school, a plate with one of my paintings on it, and that's exactly what it was, it was a plate with a painting on it. It was not a decorated plate; it was just a painting superimposed over a three-dimensional ceramic form.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting. Like finding some imaginary computer painter, or a robot who paints.
Surrealism, n. Pure psychic automatism, by which it is intended to express, whether verbally or in writing, or in any other way, the real process of thought. Thought's dictation, free from any control by the reason, independent of any aesthetic or moral preoccupation.
I have never been attracted to any kind of violence.
Psychic automatism in its pure state, by which one proposes to express - verbally, by means of the written word, or in any other manner - the actual functioning of thought. Dictated by the thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.
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.
In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new.
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