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.
Since the model he so faithfully copies is not going to be hung up next to the picture... it is of no interest whether it is an accurate copy of the model.
The painter must give a completely free rein to any feeling or sensations he may have and reject nothing to which he is naturally drawn.
You ask why I'm fascinated by the human figure? As a human animal, I am interested in some of my fellow animals: in their minds and bodies.
People never knew we were poor, but out of that poverty came the most incredible inventions - board games, recipes... we never stopped inventing.
I often think you bring unhappiness on yourself, because if you don't like yourself very much, you allow yourself to be influenced by people who reinforce that.
I started thinking about how rain is depicted in illustrations. In comics that use gouache or watercolor, they use light blue, so I started using that color.
I've always thought of the project as a sort of sexually driven digestive system, that it was a consumer and a producer of matter. And it is desire driven, rather than driven by hunger or anything like that.
All the parts I get offered are character and comedy parts, and I probably wouldn't get them if I had a different face. So I'm glad I have a comedy face.
I never learned to ride a bicycle, and it is too late now. I never learned to drive. I never learned to swim.
I've got two girls, and they both make beautiful drawings. One of them really has a gift for the way that she colors around certain lines.
Growing up, I thought I was white. It didn't occur to me I was Asian-American until I was studying abroad in Denmark and there was a little bit of prejudice.
But I was in awe of the painters; I mean I was new in New York, and I thought the painting that was going on here was just unbelievable.
I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.
Now when you have administrators deciding what sexuality is, and what's a taboo and what's not in terms of content, you got guys, like, Trent Lott who equates homosexuality with a disease.
Basically, what you really want to do is try to engage the viewer's body relation to his thinking and walking and looking, without being overly heavy-handed about it.
From the top of the quarry cliffs, one could see the New Jersey suburbs bordered by the New York City skyline.
Some artists imagine they've got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control.
Even the multiplex audience wants this flavour. No big-budget film can be a commercial hit until it does well both at multiplexes and single screens. 'Ghajini' and 'Dabangg' are examples.
There are countless artists whose shoes I am not worthy to polish - whose prints would not pay the printer. The question of judgment is a puzzling one.
It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color.
