Abstract painting seeks to be a pure pictorial language, and thus attempts to escape the essential impurity of all languages: the recourse to signs or forms that have meanings shared by everyone.
I always feel attacked when I'm asked about my painting.
'Pomegranate,' started with my imagining a bullet going through the fruit and causing it to bleed. My initial associations were with pomegranates in old masters painting and their Judeo-Christian symbolism.
It's amazing how, in New York, there is almost a feeling of entitlement by the public - this very palpable lack of surprise at being stopped in the street and being asked to be the subject of a 12-foot monumental painting.
All my album artwork is body painting.
Coming out of college with a degree in fine arts and painting isn't worth much any more.
That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
I graduated from college with a 3.92 GPA with a degree in computer programming and a BFA in fine arts and animation. My first job was painting a mural in the Grimaldi's in Queens.
We feel closer to the drawings on the walls of Chauvet than the painting of, say, an Egyptian mural. These artists are not remote ancestors; they are brothers. They saw like us; they drew like us. We wear essentially the same clothes against the cold.
I seldom have my stuff up unless I'm testing it. If I'm worrying about a painting, I put it up and see if I detest it quickly or slowly. Otherwise I have things by other artists.
I was a really lousy artist as a kid. Too abstract expressionist; or I'd draw a big ram's head, really messy. I'd never win painting contests. I remember losing to a guy who did a perfect Spiderman.
No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.
In the 'Nude Descending a Staircase,' I wanted to create a static image of movement: movement is an abstraction, a deduction articulated within the painting, without our knowing if a real person is or isn't descending an equally real staircase.
My painting does not come from the easel.
And since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art.
If commercialization is putting my art on a shirt so that a kid who can't afford a $30,000 painting can buy one, then I'm all for it.
Painting is an essentially concrete art and can only consist of the representation of real and existing things.
Painting is the passage from the chaos of the emotions to the order of the possible.
Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?
I would have liked maybe to be in architecture or painting, something connected to the fine arts.