I believe that the artist's involvement in the capitalist structure is disadvantageous to the artist and forces him to produce objects in order to live.
Picabia is a very old painter who some people try to connect me to, but I refuse such comparisons very well.
Because I was traveling a lot during the '70s, the only thing I could do on the road was take photographs, so there wasn't much painting during those years.
I've never been interested in philosophy, but some of Jung's ideas seem useful in helping people understand pictures and so forth.
The language that photography has is a formal language. Any photographer is doing something formal. If it's formal, then it must be an aesthetic way to communicate.
Photography has become a small world with so many jealous people. You do a story and then a lot of people try to do the same thing.
I was very, very quiet. I was always a loner, hardly spoke, and I was quite a nerd in school. So I was an outsider always.
My whole purpose of taking on miniature painting was to break the tradition, to experiment with it, to find new ways of making meaning, to question the relevance of it.
People who actually tell stories, meaning people who write novels and make feature films, don't see themselves as storytellers.
Knowing how to paint and to use one's colors rightly has not any connection with originality. This originality consists in properly expressing your own impressions.
I'm wary of the word 'inventing,' because in the British psyche the word 'inventor' is immediately linked with 'mad'. For me, inventing is problem-solving.
In a way, Strandbeests have turned into migration animals, and the step counter gives them an idea of where they are. While counting their steps, they know more or less where they are between Kijkduin and Scheveningen.
I make skeletons that are able to walk on the wind, so they don't have to eat... eventually I want to put these animals out in herds on the beaches, so they will live their own lives.
I share something in common with Norman Rockwell and, for that matter, with Walt Disney. In that I really like to make people happy.
My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc.
I moved around a lot when I was a child; two of the houses I grew up in have totally disappeared. One was burnt in a riot, and the other was pulled down.
Being a black artist, the first thing people want to talk about is your blackness, the importance of your blackness, and your black presence.
Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.
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.
When my mother died, I fell apart. My father wanted to control me. As a consequence, I ran away to America.
We went down into the silent garden. Dawn is the time when nothing breathes, the hour of silence. Everything is transfixed, only the light moves.
