Billy Zane Quotes

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.

The painter must enclose himself within his work; he must respond not with words, but with paintings.

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

We would sift through every inch of what it was that worked, or if it didn't, and wonder what was effective in it, in terms of paint, the subject matter, the size, the drawing.

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.

There are these painterly things that happen while I'm working.

I create art. It's kinda abstract.

A painting of a person can be descriptive, but for me it's about all the things that make up a picture - the feelings, the brushstrokes - more than describing somebody. People latch on to the personalities when they talk about my work and forget the other parts.

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

I paint with shapes.

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

Cubism is not a manner but an aesthetic, and even a state of mind; it is therefore inevitably connected with every manifestation of contemporary thought. It is possible to invent a technique or a manner independently, but one cannot invent the whole complexity of a state of mind.

I always start a painting with the sky.

I wanted to be a painter, somewhere between Abstract Expressionism and Pop.

I try to combine in my paintings cinematic feeling, emotional feeling, and sometimes actually writing on the page to combine all the different elements of communication.

I try to apply colors like words that shape poems, like notes that shape music.

My painting does not come from the easel.

I'm like the painter with his nose to the canvas, fussing over details. Gazing from a distance, the reader sees the big picture.

When you make a painting, even abstract, there is always a sort of necessary filling-in.

The colors live a remarkable life of their own after they have been applied to the canvas.

The hard part is how to plan a picture so as to give to others what has happened to you. To render in paint an experience, to suggest the sense of light and color, of air and space.

I like to make collages - paper collages.

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

The art of pictorial creation is so complicated - it is so astronomical in its possibilities of relation and combination that it would take an act of super-human concentration to explain the final realization.

I influenced the BG style by not being able to draw perspective. The BG artists developed cool graphic painting styles to make my bad backgrounds look like they were that way on purpose.