A Quote by Jason Shawn Alexander
When I paint figures it's never the idea of painting the beauty of the figure, it is using the figure to get across how I feel.
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I paint like an abstract painter everything is inside nothing is meant to be, I take tattoos off a people I take anything that's not necessarily going to be timeless. I want to get across what I feel and I just use the figure because I enjoy the figure.
I had the desire to paint the figure without actually painting the figure.
You can't figure out the Universe, especially if you're using figures to figure it.
I was struggling to figure out how to combine the abstract and the representational. Painting, I suddenly understood how that aesthetic could fit together. That was a really fun game to figure out how that worked.
I love the figure to get across what I feel.
It's a lot easier to figure out how to scale something that doesn't feel like it would scale than it is to figure out what is actually gonna work. You're much better off going after something that will work that doesn't scale, then trying to figure how to scale it up, than you are trying to figure it all out.
To have a film where there's an evil figure and a good person fights against the evil figure and everything becomes a happy ending, that's one way to make a film. But then that means you have to draw, as an animator, the evil figure. And it's not very pleasant to draw evil figures.
To have a film where there's an evil figure and a good person fights against the evil figure and everything becomes a happy ending, that's one way to make a film. But then that means you
have to draw, as an animator, the evil figure. And it's not very pleasant to draw evil figures.
When I go to an art gallery and stand in front of a painting, I don't want someone telling me what I should be seeing or thinking; I want to feel whatever I feel, see whatever I see, and figure out what I figure out.
That's where I got the idea to paint the walls of the gallery with varied colours [at the Whitechapel show]. I tried to figure out how all these Renaissance paintings manage to work together.
People ask me how I keep my figure, and I tell them it's because I paint. When you're covered in paint, it's quite hard to put food in your mouth!
Every single painting is different. I'm always trying to figure out what I'm interested in. Usually when I go through and I make the collages or the images for ideas that I want to paint, it's like an Ouija board. Each painting I do is trying to understand what the hell I'm looking at, or want to look at.
Painting has always been a means of self-expression for me. Therefore, I paint because I have to and need to, not necessarily because I want to. Subconsciously or not, the figures I paint are a reflection of myself and whatever mood I am in at the time, so every painting is in essence a self-portrait.
I'm not interested in 'abstracting' or taking things out or reducing painting to design, form, line, and color. I paint this way because I can keep putting more things in it - drama, anger, pain, love, a figure, a horse, my ideas about space. Through your eyes it again becomes an emotion or idea.
I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.
A slick way to outfigure a person is to get him figuring you figure he's figuring you're figuring he'll figure you aren't really figuring what you want him to figure you figure.
