Quotes of All Topics . Occasions . Authors
In our family, there wasn't anything else besides art. Nothing else in the world existed. My father never spoke about going to a movie or listening to music, other than my mother's singing.
Now, it is much more difficult for young people coming to New York. But also when you're young, you have more time to interact with one another, to discover yourself with people of your generation.
I'm not moving from an ideological standpoint. Sometimes I'm trying to make my life better. Sometimes I'm trying to make my life worse! I'm trying to find a happy medium that I can make some sense of.
I certainly am one of those people who is incredibly privileged to have an art career, which happened out of luck. Then luck kept happening. Besides that, things just move along in their own weird way.
As a child I prayed that my calling be revealed - but not with expectation and not with a destination. I became an artist because I didn't know what to do and I thought it was really fun to make things.
You can have fantasies about having control over the world, but I know I can barely control my kitchen sink. That is the grace I'm given. Because when one can control things, one is limited to one's own vision.
I like Betsy Ross as a model, too, the quilting bee, sitting around with your friends making art, asking what they think, so that you get the benefit of everyone's opinions and so it's not just about you in your you-dom.
It was a very economically depressed time [the 80s] and because of that, there was a lot of space. Everything was relatively dilapidated, and one could live on a pretty low income. One could live well below the poverty line and not suffer immensely.
Prior to my father's death, I was having a hard time committing to a career as an artist, but that's not because of who he was - it was because of who I am. It's true, though, that I felt I shouldn't compete with him, and that those feelings went away after he died.
I like that feeling when you’re making art, that you’re taking the energy out of your body and putting it into a physical object. I like things that are labor-intensive : you make a little thing and another little thing and another little thing, and eventually you see a possibility.
I got into animals by drawing hair follicles. I liked drawing hair, and from that I got into feathers and fur, then into images of animals. The patterning is the same, but the proportions of the body change from one animal to the next. A lot of it is just geometry and consciousness.
One's self is always shifting in relationship to beauty and you always have to be able to incorporate yourself or your new self into life. Like your skin starts hanging off your arms and stuff, and then you have to think, well that's really beautiful too. It just isn't beautiful in a way that I knew it was beautiful before.
I have to make about a million proofs of everything. I don’t know, it’s just a repetition, like a meditation. You come back to something and then you leave it, and then you come back again and you leave it, and each time it changes. And sometimes you have to wait for new information inside yourself to be able to finish something, to find out how it should go.
You start with a generic body, but I think the first wall you hit with portraiture is comprised of history and storytelling and the nature of characters - whether they are historical or coming from literature or documentation. Those are the references we have to people, besides your family, and the intimacy of portraiture is in the specifics of individuals. For me, it came out of doing things about animals.