A Quote by Alfred Sisley
The animation of the canvas is one of the hardest problems of painting.
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I so love the animation process. Interesting, everything that I do in animation, the kind of crafting and skills of storytelling, totally work within the structure of the Disney nature films. In a weird way, I like to think that animation is like painting, and Disney nature is like sculpting. Animation you start with a blank canvas and you paint. With Disney nature, you start with a big block of imagery and you hone it down into your final story. Somewhere you end up with something kind of pretty to watch.
When you think of painting as painting it is rather absurd. The real world is before us - glorious sunlight and activity and fresh air, and high speed motor cars and television, all the animation - a world apart from a little square of canvas that you smear paint on.
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.
... a canvas that I have covered is worth more than a blank canvas. My pretensions go no further; that is my right to paint, my reason for painting.
I always get into arguments with people who want to retain the old values in painting - the humanistic values that they always find on the canvas. If you pin them down, they always end up asserting that there is something there besides the paint on the canvas. My painting is based on the fact that only what can be seen there is there... What you see is what you see.
Maybe the given person, cup, or landscape is lost before one gets to painting. A figure exerts a continuing and unspecified influence on a painting as the canvas develops. The represented forms are loaded with psychological feeling. It can't ever just be painting.
I was always interested in language. I thought, why not? If a painting, by the normal definition of the term, is paint on canvas, why can't it be painted words on canvas?
I tried different techniques during my career, but I especially fell in love with painting with oil and pallette-knife. Every artwork is the result of long painting process; every canvas is born during the creative search; every painting is full of my inner world.
When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.
Subject becoming less relevant, each painting having a life of its own, each stroke leading to the next. It is more about the connection of body and spirit to canvas, over mind to canvas.
The challenge of yoga is to go beyond our limits - within reason. We continually expand the frame of the mind by using the canvas of the body. It is as if you were to stretch a canvas more and create a larger surface for a painting. But we must respect the present form of our body. If you pull too much at once, we will rip the canvas. If the practice of today damages the practice of tomorrow, it is not correct practice.
For me, preparing the canvas takes longer than painting. The actual painting takes about half an hour.
I'm not particularly interested in painting, per se. I'm interested in a painting that has that mysterious life to it. Anything that doesn't partake of that magic is halfway dead - it returns to its physical elements, it's just paint and canvas.
I want to be the band everyone knows that goes hardest. Plays the hardest, parties the hardest, lives the hardest, loves the hardest, does everything the hardest, harder than anybody else.
At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.
Technically, a makeup artist's canvas is the face and body. The difference is that my painting of makeup is integrated into the painting of the flesh and not on top of it. I think in some ways it is more difficult to expressively deploy makeup.
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