Paul Arden Quotes

Art is changing. Again. Here. Now. Opportunities to witness this are rare, so attend and observe.

As an artist, you have the job of working out whatever is given you to work out.

On occasion I have drawn as a release from painting. The economy in using paper, pencil, charcoal and crayon can help towards a greater gamble and higher rewards. I also find that drawing can generate ideas more rapidly than painting.

I see artists bored by light-without-heat, irked at gigantic galleries' pushing out art-as-product, leaving behind the over determined for the undetermined, guided by interior voices and bringing us out of a long tunnel to new blueness.

For me, as an artist, I think you have to experiment.

I love the flexibility of saying, "Today we're making 50-foot paintings, and we're going to have to join hands and figure out how that's going to work." But in the end, it's a possibility.

The moment we live in is a great time to make art. We have different technologies to play with, and we're left with the opportunity to focus on our work.

When you're an artist, all you're trying to do is self-express.

I like to make the music that I really love. You're supposed to make your favorite music that no one else played, and I'd like to just keep it at that and not really change it at all.

I see my studio like a laboratory, where I work like an investigator - it's almost forensic. I love the discovery process in painting.

There's no way to really mock up or simulate what I'm doing until I'm there. An exhibition for me is not a statement but an experiment.

When I begin, theoretically and practically I can smear anything I want on the canvas. Then there's a condition I have to react to, by changing it or destroying it.

Making art has never been a mystery to me. It's never been something that's very difficult.

Being in the studio is like painting, you know, you can really take your time, and try different things, and kind of go deep into it.

I want to change things with everything I do, not for the sake of changing things, but for the sake of taking greater and greater risks, or how minimalist I might be able to be, or how I can involve elements or ingredients in music videos that are not musical, for instance.

Trying to force creativity is never good.

In the mid- to late '60s to the mid-'70s, when I was a student, there was a major change in the thinking about what art can be and how art is made.

I never finished the 'Large Glass' because, after working on it for eight years, I probably got interested in something else; also, I was tired. It may be that, subconsciously, I never intended to finish it because the word 'finish' implies an acceptance of traditional methods and all the paraphernalia that accompany them.

Rule of art: Cant kills creativity!

Imagination has rules, but we can only guess what they are.

We feel more and more intensely about the music we make. It's unexpected, and not always what you would think of in Beach House. It's all art in the end. We aren't making records because we have to; it's because it's what we want to express.

If you ever have a kid who doesn't know what to do, stick him in art school. It's amazing what evolves.

PowerPoint may not be of any use for you in a presentation, but it may liberate you in another way, an artistic way. Who knows.

Even though the museums guarding their precious property fence everything off, in my own studio, I made them so you and I could walk in and around, and among these sculptures.

I feel like every artist has an opportunity to create something new and to challenge themselves to reach out to a new crowd.