A Quote by Yusaku Maezawa
For painting, I like strong lines, powerful pieces.
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Like most sensible people, you probably lost interest in modern art about the time that Julian Schnabel was painting broken pieces of the crockery that his wife had thrown at him for painting broken pieces of crockery instead of painting the bathroom and hall.
Simply put, when you have very large pieces of software, most of the tools look at the individual lines of code as text. It is often extremely powerful to look not at individual pieces of code but at a system as a whole.
I should like to achieve free, spontaneous painting delineating a powerful, strong structured image. One must be possible with the other. A difficult problem in itself, but one which I shall achieve.
In fine arts, when you make a painting, it's just a painting. But if you make a painting in the entertainment industry, it can be an album cover or a t-shirt or a logo. I like that entertainment has this usefulness - that it's ultimately trying to make a bunch of people feel something, and to think about life and be able to use things that were so simple and direct but potentially have a really powerful effect.
In Lagos there's a really strong case to resurrect strong parts. Embedded in all of it are some amazing pieces of planning, amazing pieces of engineering and interaction. For instance, the campus of Lagos University is stunningly beautiful, efficient and generous, and that needs to be recognised and preserved.
You didn't see me on television, you didn't see news stories about me. The kind of role that I tried to play was to pick up pieces or put together pieces out of which I hoped organization might come. My theory is, strong people don't need strong leaders.
Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or tree. It is lines and colors put together so that they may say something.
I'm not much of a chess player, but there is an aspect of the game that I find fascinating. After a while, you can almost see lines of force between the pieces. Areas of danger where it is physically impossible to move pieces into. Clouds of possibility, forbidden zones.
It's kind of like trying to make straight lines from curves, but involving shapes that sort of dictate what the curves are, if you like, and the difference between two separate pieces creates a third transitional piece if you like.
I like strong/vulnerable interesting women, and then sometimes I like painting beautiful men, like Kurt Cobain, or Mr Darcy.
Genetic modification is a very powerful tool. But like any powerful tool, when using it, you have to take into account the environmental impact, the food safety aspects and so on. There must be a strong regulatory mechanism.
I paint, and painting gives me my much needed break from my routine. Painting was a subject in my school, and I developed a liking for the lines and colours and started practising in my free time. It helps me de-stress amidst my hectic shooting schedules.
The secret of many of my deformations - which many people do not understand - is that there is an interaction, an intereffect between the lines in a painting: one line attracts the other and at the point of maximum attraction the lines curve in toward the attracting point and form is altered.
With migration [in Europe] you look at the lines and you look at the tremendous amount of young strong men in these lines and you wonder what is going on?
I love hard punch lines, and I like anything that has a strong point of view.
[Barack] Obama can draw lines for himself and his country, not for other countries. We have our red lines, like our sovereignty, our independence, while if you want to talk about world red lines, the United States used depleted uranium in Iraq, Israel used white phosphorus in Gaza, and nobody said anything. What about the red lines ? We don't see red lines. It's political red lines.
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