Quotes by Chris Ofili - Page 1

Change is not indecision.
Chris Ofili / Painter
Change
Indecision
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I've always set out to embrace all that I am.
Chris Ofili / Painter
Embrace
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I believe in God, but I'm not dominated by it.
Chris Ofili / Painter
God Believe I Believe
Dominated
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Love is a blissful state, but it's not a utopia.
Chris Ofili / Painter
Utopia
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I was brought up a Catholic and was an altar boy.
Chris Ofili / Painter
Catholic
Altar
Boy
Brought
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I don't think I met anyone posh until I went to London.
Chris Ofili / Painter
Posh
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I'm black, and it's a very important part of what I am. I'm not embarrassed about it.
Chris Ofili / Painter
Embarrassed
Important Part
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I just hope that when black people look at me, they don't see someone superhuman. They see themselves.
Chris Ofili / Painter
Superhuman
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There was a point in time where the thought of people even talking about me made me anxious. Physically.
Chris Ofili / Painter
Anxious
Made
People
Talking
Time Me People
Time Where Me
Physically
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We all studied math, but we don't go around spewing numbers. Religion should be used in the appropriate way.
Chris Ofili / Painter
Appropriate
Math
Numbers
Studied
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In the end, it doesn't really matter what you paint. It's all just a routine to connect yourself finally with other people.
Chris Ofili / Painter
Art
People
Routine
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I'm aware that success can overwhelm you. The perception of you can be elevated to such a status that it's not you any more.
Chris Ofili / Painter
Perception
Elevated
Overwhelm
Status
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I don't quite know how the urban music category came about, but I suspect it had something to do with trying to maximise sales.
Chris Ofili / Painter
Urban
Category
Sales
Suspect
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When I left the Royal College, I decided I would only make paintings that I would want to look at myself, that felt close to my life.
Chris Ofili / Painter
College
Decided
Left
Looks
Royal
Want
Life Myself Look
Close
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'Death & the Roses' came out of ideas about flagellation and guilt and from looking at Piero della Francesca's 'The Flagellation of Christ.'
Chris Ofili / Painter
Guilt
Roses
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A lot of what Trinidad is about is the feeling of the place, the atmosphere of the place, particularly at night, and the mystery of the forest.
Chris Ofili / Painter
Atmosphere
Forest
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The church is not made up of one person but a whole congregation, and they should be able to interact with art without being told what to think.
Chris Ofili / Painter
Congregation
Interact
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I try to bring all that I am to my work and all that I experience. That includes how people react to the way I am - the prejudice and the celebrations.
Chris Ofili / Painter
Prejudice
Celebrations
React
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I wouldn't say even that I'm a broadly political person. But on occasion, I have felt that I have no choice but to paint something with a strong moral stance.
Chris Ofili / Painter
Moral
Paint
Stance
Strong
Choice
No Choice
Occasion
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There's a magic that comes from playing entirely to who you are. I've got my specialist subject - in the Mastermind sense - and I wouldn't change it, or who I am.
Chris Ofili / Painter
Magic
Mastermind
Who I Am
Entirely
Specialist
Subject
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The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.
Chris Ofili / Painter
Conclusion
Exhibitions
Experiments
Factories
Laboratory
Never Ending
Process
Exhibition
Factory
Studio
Result
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I've always found music inspired me in the studio to try to do new things. If someone comes out with a new album, it's like, 'Gosh, they've been working hard - so should I.'
Chris Ofili / Painter
New Things
Music Me New
Gosh
Working Hard
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I love Manchester. I love Manchester United. But I would really struggle to be creative there. I feel a bit lost, over-familiar maybe. Maybe too stuck in my own web of history.
Chris Ofili / Painter
Manchester
Manchester United
Stuck
Web
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The Notorious B.I.G.'s album 'Ready to Die' is an incredible chart of a man's life - it begins with his birth, you hear his mother giving birth, and it goes through the decades.
Chris Ofili / Painter
Birth
Decades
Notorious
Begins
Chart
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Trinidad was an opportunity to start all over again, to have another stab at it. The mystery and atmosphere of the place have entered my palette a lot more than I thought they would.
Chris Ofili / Painter
Atmosphere
Palette
Entered
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Sometimes, as I feel a door or an exit point in my work is closing, I'll try to create an opening so as not to stifle the creative process, which I see as a process that's never-ending.
Chris Ofili / Painter
Closing
Creative
Creative Process
Doors
Exit
Never Ending
Opening
Trying
Door
Stifle
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Often I think changes within my work have been seen as sudden changes or sharp changes, but for me they're not that sudden. They have been there in the studio, but not so much in public.
Chris Ofili / Painter
Studios
Sudden Change
Thinking
Sharp
Sudden
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Moving to Trinidad was a great experiment. I never knew what it would do to my work or even if it would be accepted by people and not be seen as me just falling off the edge of the earth.
Chris Ofili / Painter
Accepted
Work Great Me
Edge
Experiment
Falling
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The studio is a place where I can experiment before I'm prepared for an idea to become a body of work, or a new way of working, or a way of working that can sustain me over a period of time.
Chris Ofili / Painter
Body
Ideas
Prepared
Way
Time Work Me
Experiment
Work Time Me
New Way
Sustain
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I think visual seduction is really a lovely thing. To be able to look at something and feel you want to get closer and closer to it, and as you get closer to it, the more you drop your guard.
Chris Ofili / Painter
Able
Lovely
Seduction
Visual
Your Look Feel
Closer
Drop
Look Feel Your
Guard
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Doubt is important because it suggests progress. Total certainty can mean there's no assessment of things. Doubt, if you don't panic, can allow newness to come in and challenge something that's an established mode.
Chris Ofili / Painter
Assessment
Certainty
Doubt
Important
Mean
Newness
Panic
Progress
Come
Allow
Established
Total
Mode
Something
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London was an exciting place to work at one point because, socially, it was very progressive - a catalyst. There were very interesting artists making all types of work, but it got to a point where the social aspect became claustrophobic.
Chris Ofili / Painter
Aspect
Catalyst
Progressive
Work Where Place
Claustrophobic
Socially
Types
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I was an altar boy and heard the Bible being read out repeatedly. The stories have stayed with me, although they're completely remixed in my head. And often, when I do further reading, I'm quite surprised by the difference between the real story and my memory of the story.
Chris Ofili / Painter
Bible
Heard
Real Story
Altar
Further
Memory
Repeatedly
Stayed
Surprised
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I was listening to a lot of hip hop, music like Public Enemy that was about raising consciousness, and I realised I could feed that directly into my work, using images in a way that was a bit like sampling - taking images from diverse places, exploring the contradictions without trying to hide the seams.
Chris Ofili / Painter
Consciousness
Diverse
Enemy
Exploring
Hip Hop
Listening
Realised
Sampling
Work Music Way
Bit
Feed
Public
Directly
Hide
Hop
Images
Places
Raising
Taking
Using
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When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
Chris Ofili / Painter
Art
Art School
Finished
Individual
Layers
School
Thinking
Lots
Constructed
Painters
Realise
Similarly
Underneath
Worked
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Chris Ofili Quotes - Page 1

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