Houses, housetops, like human beings have wonderful character. The lives of housetops. The wear of the seasons. The country is beautiful, young, growing things. The majesty of trees. The backs of tenement houses are living documents.
I think most people have creative ideas and have very strange, unorthodox impulses of things that they can do with their lives. I've had many of these over the years, but I decided the more important question was, 'When did I start calling this art?'
People go into a gallery, and they're afraid to express their opinions about art. No one's afraid to say, 'Keanu Reeves was bad in that movie.' We see so many films that we can tell who's faking it. But with art, we can't always tell.
Good and Evil are very hard to explain or understand. I'm sure that evil exists, but it is hard to isolate. Good and evil are intertwined and impossible to separate. They are not completely opposites and in fact are often one and the same.
I like geography best, he said, because your mountains & rivers know the secret. Pay no attention to boundaries.
A greater awareness in architects and planners of their real value to society could, at the present, result in that rare occurrence, namely, the improvement of the quality of life as a result of architectural endeavour.
The unexplainable thing in nature that makes me feel the world is big fat beyond my understanding – to understand maybe by trying to put it into form. To find the feeling of infinity on the horizon line or just over the next hill.
I knew how one climbing the mountain of worldly success can slip down into the river below without being conscious of the descent till he is already drowning.
Presently the newly awakened psychology will gradually accomplish what pure religious devotion might have done: throw out Paul, and let Jesus in!
Van, Van, we’re only simple, fallible mortals - we aren’t saints, we aren’t angels - we fall on our faces and make errors and sometimes people die of them - sometimes people we love dearly -
I, Larry Vail, do hereby confess To murdering Merry in her little dress. To strangling and raping and making a mess. To all of these charges the answer is yes.
It was so nice just to live in the moment, to enjoy holding him so closely, to pretend for a little while that they were merely two young people in love and nothing else.
When I was growing up, I never felt that I belonged anywhere because we never lived in a house for more than three months. That's all I knew, and that's why I don't really belong anywhere.
You cannot just be working in a vast, air-conditioned loft space and think you are going to make a decent painting. Francis Bacon had a special studio built, and he felt completely emasculated in there. I have to be somewhere comfortable.
I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
I also paint, draw and I'm into film and photography as well, and the same thing applies to all of them. You're presenting this material to the general public and hoping that they're going to 'get' what you're doing. Some don't, some do.
I don't know anyone who actually likes the dark or night-time. I don't care how much they say it doesn't bother them. That's why we used to huddle in caves and light fires when the sun went down.
What is a face, really? Its own photo? Its make-up? Or is it a face as painted by such or such painter? That which is in front? Inside? Behind? And the rest? Doesn't everyone look at himself in his own particular way? Deformations simply do not exist...
Know what the old masters did. Know how they composed their pictures, but do not fall into the conventions they established. These conventions were right for them, and they are wonderful. They made their language. You make yours. All the past can hel...
Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
In my case, I used the elements of these simple forms - square, cube, line and color - to produce logical systems. Most of these systems were finite; that is, they were complete using all possible variations. This kept them simple.
