I was in 'Seussical,' and I was in a cage onstage in a purple yarn suit singing backup, and I was like: 'I've had it. I can't do this anymore.' I will say for the record that I did love the show, but I was like: 'I want to do something else. I need a...
At present, I am mainly observing the physical motion of mountains, water, trees and flowers. One is everywhere reminded of similar movements in the human body, of similar impulses of joy and suffering in plants.
I was in love with everything- I wanted to look with love at the angry people so that their eyes would be forced to respond; and I wanted to bring gifts to the envious and tell them that I am worthless.
I approach each project with a new insecurity, almost like the first project I ever did, and I get the sweats, I go in and start working, I'm not sure where I'm going.
I make a model of the site. There are some obvious things: where the entrance should be, where the cars have to go in. You start to get the scale of it. You understand the client's needs, and what the client is hoping for and yearning for.
I was in Peru and visited a building near Lima built by the Incas. It was low in height, with no windows at all, but all the way in the back there was air movement. And I couldn't figure out how they'd done it; it was incredible.
I paint my own reality. 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.
A common fallacy in much of the adverse criticism to which science is subjected today is that it claims certainty, infallibility and complete emotional objectivity. It would be more nearly true to say that it is based upon wonder, adventure and hope.
In '92, I got my first Broadway show as a performer - 'Crazy for You.' I was in the ensemble. In fact, I was in eight Broadway shows as a dancer. Seven of them were original shows. That's how I learned to create something from the ground up.
My struggle has been to return painting to the tangible object, which is like returning the personality to touching and feeling the world around it, to offset the tendency to vagueness and abstraction. To remind people of practical activity, to sugge...
I remember that, although I was full of fervour, I didn't have the slightest inkling, even at forty, of the deeper side to the movement we were pursuing by instinct. It was in the air!
I don't know whether I believe in God or not. I think, really, I'm some kind of a Buddhist. But the essential thing is to put oneself in a frame of mind which is close to that of prayer.
July 2. A beautiful day for Labrador. Went ashore and killed nothing, but was pleased with what I saw. The country is so grandly wild and desolate that I am charmed by its wonderful dreariness.
I like the feeling of not knowing where to look when you are only performing for one person or watching someone practice. It creates this kind of a strange in-between, which can be mirrored in the feeling of making a painting.
I hate this idea that there are some people who have a right to express their suffering and others who don't, that there are those in this hierarchy of pain who own it more than you do.
The free man does what he likes in his working time and in his spare time what is required of him. The slave does what he is obliged to do in his working time and what he likes only when he is not at work.
All my paintings are usually done in drawing form, very small. I make notations in drawings first, and then I make a collage for color. But drawing is always my notation.
I learned my color in Europe. I've always been a colorist, I think. I started when I was very young, being a bird-watcher, fascinated by the bird colors.
But part of the enjoyment I take in it is finding the most efficient way to do it, which doesn't mean the corrections aren't made. I like to have a feeling of the whole task before I start, even if it changes.
So, I was offered this job to come down there but first it was suggested that I take a trip around the country in the areas in which we worked to see what it's all about, and I tell you that was a revelation to me.
I remember traveling around in Arkansas with Senator Robinson, and I told him what this little trick was. He felt very much part of it and had me take pictures of people unbeknownst to them.
