If we listen human instinct actually tells us what we need, but advertising makes us want things we don't need and things we can't have.
In the fairy tale the painting represents the here and now. The book is actually divided into five sections, through which the key character, the muse, leads us.
I took lots of photographs and had planned to write a treatise on how it worked, but I quickly got bored with that idea and wrote a scientific fairy tale instead.
I started by looking at what others had done before me. You see, over the years there have been attempts by many different people to reconstruct the chariot.
I chose to camouflage my body into the environment because this way, people will pay more attention to the background's social property, and the meaning of my body disappeared in this environment as an individual.
Since the model he so faithfully copies is not going to be hung up next to the picture... it is of no interest whether it is an accurate copy of the model.
The painter must give a completely free rein to any feeling or sensations he may have and reject nothing to which he is naturally drawn.
You ask why I'm fascinated by the human figure? As a human animal, I am interested in some of my fellow animals: in their minds and bodies.
People never knew we were poor, but out of that poverty came the most incredible inventions - board games, recipes... we never stopped inventing.
I often think you bring unhappiness on yourself, because if you don't like yourself very much, you allow yourself to be influenced by people who reinforce that.
I started thinking about how rain is depicted in illustrations. In comics that use gouache or watercolor, they use light blue, so I started using that color.
I've always thought of the project as a sort of sexually driven digestive system, that it was a consumer and a producer of matter. And it is desire driven, rather than driven by hunger or anything like that.
All the parts I get offered are character and comedy parts, and I probably wouldn't get them if I had a different face. So I'm glad I have a comedy face.
I never learned to ride a bicycle, and it is too late now. I never learned to drive. I never learned to swim.
I've got two girls, and they both make beautiful drawings. One of them really has a gift for the way that she colors around certain lines.
Growing up, I thought I was white. It didn't occur to me I was Asian-American until I was studying abroad in Denmark and there was a little bit of prejudice.
I would like to sit down with Oprah, just because I'd like to talk to her. I want to sit down and, like, converse. Like, 'Honey, let's chat!'
I grew up in this little farm town, and I've always dreamt of Hollywood and pop culture, and then I suddenly found myself plopped in the middle of it.
There were times I was told, 'You are too gay.' I turned down a lot of things because producers said they wanted me to be different. I said, 'It's not going to happen.'
But I was in awe of the painters; I mean I was new in New York, and I thought the painting that was going on here was just unbelievable.
I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.
