There's a moment of recognition. It's that white-light kind of stuff that just 'works.' I love that. And you know it when it happens, whether it's a movie, music, a building, a book.
I love my sculptures, and I was lucky I had them for 50 years because no one would look at them, and I really liked having them around.
And then I went round the corner and there's a Van Gogh portrait, and you just think, well, this is another level. A higher level, actually. I love the Sargent, but it's not the level of Van Gogh.
Throughout the time in which I am working on a canvas I can feel how I am beginning to love it, with that love which is born of slow comprehension.
He has no talent at all, that boy! You, who are his friend, tell him, please, to give up painting. –--Manet to Monet, on Renoir---
I enjoy sharing my books as I do my friends, asking only that you treat them well and see them safely home.
I think little things are more powerful because they're more honest, so people feel them more strongly.
The designer must understand that form does not follow function nor does form follow a production process. For every use and for every production process there are innumerable equally attractive solutions.
When I met my designs in the market of a remote village in the West Indies, or in the airport restaurant in Zurich, I felt like the mother of many well-behaved children.
I don't call myself an 'industrial designer,' because I'm other things. Industrial designers want to make novel things. Novelty is a concept of commerce, not an aesthetic concept.
I destroy things every day in the act of working and often recall a picture I had considered finished in order to rework it.
On certain projects, on big public projects, people definitely are interested in making them greener, but on smaller projects with tight budgets it can be harder.
The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any other consideration.
I leave you my portrait so that you will have my presence all the days and nights that I am away from you.
The most important thing for everyone in Gringolandia is to have ambition and become 'somebody,' and frankly, I don't have the least ambition to become anybody.
I think that has been a benefit to me because I think most people understand quilts and not a lot of people understand paintings. But yet they're looking at one.
I finished my studies in England, I opened my studio in London, and the first one-man exhibit I had on Bond Street, which was opened by the Austrian ambassador.
I love my old paintings as postulates as fresh starting points but I have to destroy them. I have to make a new manifesto.
The Crows are very handsome and gentlemanly Indians in their personal appearance: and have been always reputed, since the first acquaintance made with them, very civil and friendly.
The very use of the word savage, as it is applied in its general sense, I am inclined to believe is an abuse of the word, and the people to whom it is applied.
My uniform is sweatpants, so crusted over with dried paint that they're as hard as a table. I wear T-shirts that are also covered in paint, and Crocs.
