A Quote by Chuck Close
Neurologically, I'm a quadriplegic, so virtually everything about my work has been driven by my learning disabilities, which are quite severe, and my lack of facial recognition, which I'm sure is what drove me to paint portraits in the first place.
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I wanted to translate from one flat surface to another. In fact, my learning disabilities controlled a lot of things. I don't recognize faces, so I'm sure it's what drove me to portraits in the first place.
I wanted to translate from one flat surface to another.In fact, my learning disabilities controlled a lot of things. I don't recognize faces, so I'm sure it's what drove me to portraits in the first place.
I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.
Facial recognition software is already quite accurate in measuring unchanging and unique ratios between facial features that identify you as you. It's like a fingerprint.
If the first plan which you adopt does not work successfully, replace it with a new plan; if this new plan fails to work, replace it in turn with still another, and so on, until you find a plan which does work. Right here is the point at which the majority of men meet with failure, because of their lack of persistence in creating new plans to take the place of those which fail.
That's what I paint, I paint people. They're portraits, but you won't always be pleased with the way you look in my paintings. Which is fine, I guess. Unless you're buying it, and it's of your kid!
But suppose one doesn't quite know which one wants to put first. Suppose," said Harriet, falling back on words which were not her own, "suppose one is cursed with both a heart and a brain?" "You can usually tell," said Miss de Vine, "by seeing what kind of mistakes you make. I'm quite sure that one never makes fundamental mistakes about the thing one really wants to do. Fundamental mistakes arise out of lack of genuine interest. In my opinion, that is.
When I first did 'Empire,' it was a severe break from everything I'd written up to that point, which is all very continuity-driven, super-heroic, and ethics and morals-infused. 'Empire' was a chance to break away from that.
As far as outdoor work is concerned, a studio is only a garage; a place in which to store pictures and repair them, never a place in which to paint them.
[In art] you are telling the reader or the listener or the viewer something he already knows but which he doesn't quite know that he knows, so that in the action of communication he experiences a recognition, a feeling that he has been there before, a shock of recognition.
When I met my first savant in 1962, I was impressed by the abilities in these youngsters who had severe disabilities. They appeared to me to be islands of genius in the sea of disability. So I've maintained that word picture since that time, of these islands of genius that are so striking and so jarring when you see them, especially in people who have severe disability.
I want paint to work as flesh... my portraits to be of the people, not like them. Not having a look of the sitter, being them ... As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
Cry Baby is about Cry Baby and the next album [which I think I have a title for but I don't wanna say anything yet because I don't know and it's too early] is a place in the weird town that I'm trying to create and its Cry Baby's perspective throughout this album. You're not learning about her, you're learning about the place that she's in and her perspective. Down the line for sure I will think of other characters in this world.
I was quite discerning the first year and when I was doing 'The Vampire Diaries' thing I was like, 'I'm really not sure if I want to do this; it's this whole teen thing, which I've done in England.' My agent was like, 'Don't be silly, you'll make great money and everything.' But I wasn't sure.
I paint in oils, I paint in acrylics. I paint figurative and landscape portraits. It's all in my own kind of style. I'm self-taught.
The rest of America, with some small exceptions, has been bulldozed and rebuilt and then bulldozed and rebuilt again. Our places have become interchangeable. Here in New Orleans, everything from the architecture to the way in which people eat, the way in which they talk, the way in which they do business, the way in which they dance, the manner in which everything is set to a parade beat, they're all from here. There's no place like it.
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