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.
In any country, in any city, there will be political influence on what is said, what kind of images are to be projected and, yes, of course artists can be and are influenced by politicians.
I have always been a coward as a child. I am not very brave. I am very aware of the fact that I am not very gutsy.
I hate roses. Don't you? It's all right if you can hide them in a cutting garden, but I think a rose garden is the height of ick.
One day I caught four Dolphins, how much I have gazed at these beautiful creatures... as they changed their hue in twenty varieties of richest arrangement of tints.
I discover that my friends think only of my apparel, and those upon whom I have conferred acts of kindness prefer to remind me of my errors.
The aim of our studies is to prove that color is the most relative means of artistic expression, that we never really perceive what color is physically.
When we are honest - that's my saying - if we are honest then we will reveal ourselves. But we do not have to make an effort to be individualistic, different from others.
If I ever loved a woman, the more I loved her, the more I wanted to hurt her. Frida was only the most obvious victim of this disgusting trait.
I often use hypothetical situations to generate information and imagery for paintings and to create a fictional space where a subject can be put into play.
That's when I feel really excited about a painting. When it starts to feel real, when it feels like it has a personality.
I was born in Argentina, June 13, 1943. I brought up my parents very well, so they let me come to America to study at Princeton University.
You always feel when you look it straight in the eye that you could have put more into it, could have let yourself go and dug harder.
You will have to experiment and try things out for yourself and you will not be sure of what you are doing. That's all right, you are feeling your way into the thing.
You must be absolutely honest and true in the depicting of a totem for meaning is attached to every line. You must be most particular about detail and proportion.
My primary thing is to make a painting, not necessarily to make a painting to sell for gazillions of dollars, but just to make a painting.
In Boston, I developed my eye from the drawing. In Paris, I was fascinated by what my eye saw in the way that Paris is built, its 'measure.'
I was taught to draw very well when I was in school at Boston. And I grew to enjoy drawing so much that I never stopped.
Shape and color are my two strong things. And by doing this, drawing plants has always led me into my paintings and my sculptures.
I don't like acrylic because you can't get the density of color. And with each coat of oil paint, the surface gets better and richer.
My forms are geometric, but they don't interact in a geometric sense. They're just forms that exist everywhere, even if you don't see them.
