A Quote by William T. Wiley
I'm just a landscape painter. I look out the window and I see what's going on, and I paint it. While I'm painting it, I also write thoughts about what I see going on out there.
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I deal with painting as I deal with things, I paint a window just as I look out of a window. If an open window looks wrong in a picture, I draw the curtain and shut it, just as I would in my own room. In painting, as in life, you must act directly.
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.
If I were a painter, I would paint beautiful bodies - I would paint nipples, and I would paint Bibles. Am I going to say, 'I'm not going to paint this woman's neck because people will think I just want to lick on necks?' Please! That's not what art is about.
Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
I look at a pilot and go, "I see the landscape. I see the characters. I see the direction and the potential of the story." And I also go, "That didn't work. I could change that. Maybe that works. I don't know. We'll see." For me, I look at it, as an actor, as what can I improve upon? So, to have it out there and judged solely on its own merit is really a unique experience for me.
If one were to ask a painter what he felt about anything, his just response - though he seldom makes it - would be to paint it, and in painting, to find out.
The transition from painter to artist comes when you cross the line of painting what you see to painting what you feel about what you see.
I look out the window in the morning sometimes, and the sun is rising, and the people are going to work. I look at Washington as being that big, sleeping giant, just stretching and waking up, and going about its business. And to know that I'm working in the capital of the most powerful nation in the world - I feel good about that.
Hope is when you look out the window and you go, 'It doesn't look good at all, but I'm going to go beyond what I see to give people visions of what could be.'
No one purposefully paints a bad painting. It's someone who's trying to do a good painting, but it's terrible. I have one with a matador, and the bull is going through the blanket. You can tell the painter didn't know how to paint it.
When HSBC took the painting out of their building, they had to block the road and use a crane to bring the painting out from the window. They spent about 20,000 dollars just to get the painting out of the building! They said not to bring it back, and told Sotheby's to sell it immediately!
While I see many hoof marks going in, I see none coming out. It is easier to get into the enemy's toils than out again.
On the second flight, we were doing a lot of science experiments, and we've got a really cool window called the cupola. It's a big, circular window with six panes around, sort of at angles so you can see the Earth, you can see the edge of the Earth, you can go out - look out into the universe. It's pretty spectacular.
If you've read something brilliant, it's good. It's good to look out the window and see what's going on in the world.
I generally enjoy the rehearsal process because that's where you can share your ideas, get your thoughts and feelings out and see whether or not they're going to land, whether or not people are going to agree with them, particularly the director. So you can sort out in that process any elements that need to be sorted out before you're on the set, and of course that saves time and it also makes everyone more comfortable working together.
For me, going back to itinerant landscape painting, it's not about returning to an older method, but about building on what happened in the 20th century in photography. And also highlighting what the differences are between a painting and a photograph in picturing space.
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