Takashi Miike Quotes

We're quite into graphics that are simultaneously two- and three-dimensional. But I can't really elaborate any further because it's not something - we haven't really perfected it.

On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.

A contemporary artist can use the findings of all epochs and all styles, from the most primitive literary expressions up to the most refined products of the baroque.

You tend to compose things more in the middle of frame in 3-D than you would in a conventional frame. You can really see composition in 2-D but in 3-D your composition is much more complex. Everything has to be artificially enhanced. But you do gain something else with 3-D: you have a sense of space and heightened reality.

Photographs are two-dimensional. I work in four dimensions.

Good painting is the kind that looks like sculpture.

The task of art today is to bring chaos into order.

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

The basis for my own work during the years just before coming to America in 1915 was a desire to break up forms - to 'decompose' them much along the lines the cubists had done. But I wanted to go further - much further - in fact, in quite another direction altogether.

My sin as a painter is that I just want to paint anything I want to paint - and repaint.

I came to feel an artist might use anything - a dot, a line, the most conventional or unconventional symbol - t say what he wanted to say.

Painting does what we cannot do - it brings a three-dimensional world into a two-dimensional plane.

I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.

I never know what it's going to look like. Wouldn't be much point in painting if I already knew the outcome. I have a subject in front of me and I start flooding colour and making marks, I don't know, it's improvisation isn't it?

My art, like my acting, is a profound expression of poetic license.

The great art of the past became great because it started to go out of the perimeters that defined art and defined new territories.

I've directed all my videos throughout my whole career, 'cause that's leeway. I was granted that opportunity to be able to do that.

I love photography and I love the art of photography. So when I'm working with high-level art photographers, I give them artistic freedom because I want that for myself when it's my turn to do my work and I never try and control it or say I'll only do this or I want it like that.

The freedom he gave himself to work and change shape and change ideas and work all the time with joy, the joy of painting was in [Publo] Picasso, which I found beautiful.

What is an artistic picture? An artistic picture is very simple. The creator is not the producer. The creator is not the star. The creator is the director, the person who realizes the picture, like a poet, like an artist. The creator of the picture is free to do whatever he wants, how he wants to do it. That is an artistic picture.

The camera gave me an incredible freedom. It gave me the ability to parade through the world and look at people and things very, very closely.

I can't wait to get into a position to make really bad art and get away with it. At the moment if I did certain things people would look at it, consider it and then say "f off". But after a while you can get away with things.

Photography sees surfaces, it doesn't see space. We see space but the camera doesn't.

Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize.

We as visual artists need to continue to be renegades and say, "Yes I am here to do a project, but what is the social service?"