John Kricfalusi Quotes

This truth must be recognized as a dogma and assume the validity of an axiom in the general understanding of painting.

Remember that a painting - before it is a battle horse, a nude model, or some anecdote - is essentially a flat surface covered with colours assembled in a certain order.

In painting, you don't have to go through a process of opinion; it speaks directly, and either it works, or it doesn't.

When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.

It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.

Real painters understand with a brush in their hand.

I'm a pointillist, just working my tiny little piece of the canvas. I'm not so good at perspective.

To paint well, I need to be enraptured by my subjects.

I'm not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.

I'll take anything and slap it on a canvas.

Most of the power of painting comes through the manipulation of space... but I don't understand that.

By painting colors and lines and forms seen in quickened mood I was seeking to make this mood vibrate as a phonograph does. This was the origin of the paintings in The Frieze of Life.

A painting that is well composed is half finished.

I don't think money can help you become a better painter, for sure. You can have all the studios you want; it won't help you make a better painting.

Yes, I did, I mean I painted er, in a kind of abstract expressionist way, because of course that was exciting.

Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.

Painting is seen as picture making, the making of an art object, something that can stand on its own.

I have never subscribed to the Dirty Pallet school of painting.

People can see you on TV sloshing paint around with big four-inch brushes, and I learned to talk to camera in a friendly voice, not talking down to people, just explaining what I was doing. People like Picasso, Van Gogh, and Rembrandt did not have a weekly TV programme where people could see them painting.

When I was a young kid at art school, I loved the sensual geometry of Poliakoff, which, of course, is inherent in my own work.

There's something really cool about taking oily coloured paste and pushing it around with these hairy sticks and making something that looks like you. That's the magic of painting.

I have been told that some of my photographs maybe indicate that I am a painter.

All I care about these days is painting — photography has never been more than a way into painting, a sort of instant drawing.

I was a fine arts major in college, and a painter for many years. And I found that, like writing, art is very similar.

I think a painting should include more experience than simply intended statement.