Damian Loeb Quotes

I've always been so surprised by how people interpret my photos in context.

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.

Art comes from a visceral need and is usually generated by something I have seen; writing comes from something that happens in my head and my heart.

Color is a power which directly influences the soul.

I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.

The still must tease with the promise of a story the viewer of it itches to be told.

So to me it's very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement.

Viewing abstract art requires more imagination. The result is more intense involvement of the viewer—more pleasurable.

Being an artist, you soak up imagery, and you put it back out in whatever form you do your own imagery.

My approach to portraiture is conceptual.

You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.

The basic unit for contemporary art is not the idea, but the analysis of and extension of sensations.

My favourite stuff is visual, and I always want to work with visual artwork. I think it depends on the person, but for me, photographs of an image of something interesting or inspiring is worth a lot more than words to me. I think every concept I've come up with and turned into films or that will be hopefully become a film comes from images first.

We are image-makers and image-ridden... We work until we vanish.

I make spaces that apprehend light for our perception, and in some ways gather it, or seem to hold it...my work is more about your seeing than it is about my seeing, although it is a product of my seeing.

Pictures often sit inside of pictures, but the edges of pictures and objects are rarely subjected to serious challenge; we are presented with distinct, whole pictures and objects.

It is important to consider that the horror movies should - like modern art - not have a too obvious meaning. When you watch them, it is more important what you feel than what you understand.

When you walk past a painting in a museum, if it doesn't make you feel something, then it's probably a failure.

Obviously, something like ballet, you have music, you dance with the music and it's a very direct connection. With visual art, when there's no music that accompanies the art, such as great masterworks in a museum, you wind up interpreting what the artist is doing, how the artist made that work and what they're conveying.

I believe that films are meant for entertainment, but in that process, you have the possibility to think about what kind of entertainment you're giving to audiences.

All the great artists illustrate their approach to life in the work they make.

It was not possible for us to produce the same optimism and the same kind of humour or irony. Actually, it was not irony. Lichtenstein is not ironic but he does have a special kind of humour. That's how I could describe it: humour and optimism. For Polke and me, everything was more fragmented. But how it was broken up is hard to describe.

Mine was not pop art. I maybe started with a subject, but I changed the subject.

Drawing is feeling. Color is an act of reason.

I would like to manage to prevent people from ever seeing how a picture of mine has been done. What can it possibly matter? What I want is that the only thing emanating from my pictures should be emotion.