A Quote by Jose Parla
I never want to abandon my roots. I want to give my past and the history of painting the importance it deserves, including the masters like Rembrandt, who built up the surface of the canvas with transparent layers.
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I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.
You can't escape history, or the needs and neuroses you've picked up like layers and layers of tartar on your teeth.... Your every past action and thought have made you what you are.
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.
I've done what I could as a painter and that seems to me to be sufficient. I don't want to be compared to the great masters of the past, and my painting is open to criticism; that's enough.
I work on stretched linen canvas, sized so that the surface already has a sense of tension when I begin. It is a very rich and reactive surface. I begin by drawing on the canvas with a kind of loose line, very simply and freely. I paint very thinly, which allows me to change the drawing if I want to.
For every wacky postcard, there's a million people waiting to buy it, and for every $10 million of those things, there's one Rembrandt. Purposely, I think I want to aim at doing something that a lot of people won't like. I'm just worried that it looks like I've compared my work with Rembrandt. "Gervais says he's better than Rembrandt!".
I love the idea of renaissance. If my career is like painting a canvas, I want to have as many different colors in there as I can.
I want guys that are sincerely interested in coming to Clemson. I don't need any practice recruiting, and I don't like wasting time. I want to be transparent, and I want prospects to be transparent, and if they're really interested in Clemson, then they're going to come here unofficially on their own.
I've started to experiment [in the studio] with texturing the canvas, building up the surface with large brushes, palette knife or fingers. I want to say more in my art.
You'd never look at a Rembrandt and say, 'That's just wood and canvas and paint - how much?!' It's all about how many people want it. It works on a pair of jeans as well - they're just material and stitching, and as soon as you walk out of the shop, they're worth nothing.
When an artist wants to paint a painting, they have all those things in their head that they want to portray on a canvas. It's the same thing when I'm pitching. I have all these thoughts going through my head about how I want to pitch: which pitch I want to throw here, and why do I want to throw it?
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.
I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. It's the most radical thing.
I want to do just, like, regular art. Whatever is made today on canvas goes up against all of art history. Its the most radical thing.
I want to take as the canvas for my next picture the entire surface of France.
