I don't ever work in a way where something is an illustration of an event, but when something is occurring at the same time I see it as very informed by that.
As an actor, we're unemployed a lot, so I'm familiar with the stress of trying to get a gig, and sometimes you take shows that you don't really want to do to keep the money coming in.
It was 1975. I had spent the year at the Boston Museum School doing some very bizarre performance works. The last one included going to the North Magnetic Pole and spending all of my money.
Most independent filmmakers in Britain and North America work for commercial crews and then have their own projects when they've got enough money saved up to do so.
Thanks to my mother, people tell me I look younger than I am, especially without make-up. And I suppose my father had a part in making me more frugal with my money.
During the Eighties, when I was hurting for money, I thought, 'Hang on a minute - I can paint.' I was living in New York and I thought it would get the grocery money coming in, and it escalated from there.
The problem is, we live in a society where all that interests us is power and money. So we don't have any interest in our children, and what we leave for our children is not important.
I want to make as much money as I possibly can so that when my day comes, my mother and sister is fine. My close friends are fine. They don't have to worry about anything ever again.
I never use nature as a starting point. I never abstract from nature; I never consciously think of nature when I paint.
To any artist, worthy of the name, all in nature is beautiful, because his eyes, fearlessly accepting all exterior truth, read there, as in an open book, all the inner truth.
The artist is the confidant of nature, flowers carry on dialogues with him through the graceful bending of their stems and the harmoniously tinted nuances of their blossoms. Every flower has a cordial word which nature directs towards him.
There will be, I think, an attempt to grasp again the surprise and accidents of nature and a more intimate and sympathetic study of its moods, together with a renewed wonder and humility on the part of such as are still capable of these basic reactio...
The eggers destroy all the eggs that are sat upon, to force the birds to lay fresh eggs, and by robbing them regularly compel them to lay until nature is exhausted, and so but few young ones are raised.
Whether being battered by the surf or swimming through the gentle undulating surface of lakes, I find inspiration in the movement of water. Sometimes I think about the journey the water has traveled, reconnecting me to the larger cycles of nature.
Nature is my springboard. From her I get my initial impetus. I have tried to relate the visible drama of mountains, trees, and bleached fields with the fantasy of wind blowing and changing colors and forms.
I did not want to be a tree, a flower or a wave. In a dancer's body, we as audience must see ourselves, not the imitated behavior of everyday actions, not the phenomenon of nature, not exotic creatures from another planet, but something of the miracl...
You must try to match your colors as nearly as you can to those you see before you, and you must study the effects of light and shade on nature's own hues and tints.
Picasso is a character that has pursued me for a long time and I always rejected. He deserves a lot of respect because I am from Malaga, and I was born four blocks from where he was born.
When an artist leaves his work to amuse people, he loses his time and their respect. If people are to be amused by artists, it must be by employing them in their legitimate occupation.
I see my studio like a laboratory, where I work like an investigator - it's almost forensic. I love the discovery process in painting.
I love all dots. I am married to many of them. I want all dots to be happy. Dots are my brothers. I am a dot myself.
