Pat Metheny Quotes

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 sometimes use a lot of light greens and greys when I feel there is sadness in the painting.

To change your phrase somewhat, I know that I like an art where disparate elements form an entity.

Visual ideas combined with technology combined with personal interpretation equals photography. Each must hold it's own; if it doesn't, the thing collapses.

Polka dots can't stay alone. When we obliterate nature and our bodies with polka dots, we become part of the unity of our environments.

From the beginning, the camera and I were great friends. It loves me, and I love it.

As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together.

My paintings are wiser than I am.

You probably have to trust that your work is following certain themes and certain movements, but then the rest is a kind of piecing together so that the whole becomes larger than the parts.

Kenneth Hari is a true artist and in my opinion a psychic. When he is painting you, he feels your heart and soul.

Photography is our exorcism. Primitive society had its masks, bourgeois society its mirrors. We have our images.

The easy bit is picking up a camera and pointing and shooting. But then you have to decide what it is you’re trying to say and express.

Joanna Priestley’s amazing body of animated films have deservedly earned their place in the pantheon of contemporary international animators. Inventively visioned, superbly crafted, and rich with insight into the physical and spiritual dilemmas that confront us all, each new work provides an unexpected pleasure.

I say half jokingly that photography is the most difficult of the arts. It does require a certain arrogance to see and to choose. I feel myself walking on a tightrope instead of on the ground.

The meaning of quality in photography's best pictures lies written in the language of vision. That language is learned by chance, not system.

Photography is full of symbolism, it's a symbolic language. You have to be able to materialize all your thoughts in one single image.

John Loengard, the picture editor at Life, always used to tell me, ”If you want something to look interesting, don’t light all of it.

Good architecture is still the difficult, conscientious, creative, expressive planning for that elusive synthesis that is a near-contradiction in terms: efficiency and beauty.

The fact I myself do not understand what my paintings mean while I am painting them does not imply that they are meaningless.

As far as art and filmmaking is concerned, I don't see there's any separation; it's just one continuous thing.

It is possible that a picture will move far away from Nature and yet find its way back to reality. The faculty of memory, experience at a distance produces pictorial associations.

I can't tell you how many pictures I've missed just 'cause I've been so hell bent on getting the shot I think I want.

In putting images together I become active, and excitement is of another order - synthesis overshadows analysis.

The camera machine cannot evade the objects which are in front of it. When the photographer selects this movement, the light, the objects, he must be true to them. If he includes in his space a strip of grass, it must be felt as the living differentiated thing it is and so recorded. It must take its proper but no less important place as a shape and a texture in relationship to the mountain tree or what not, which are included.

I think art parallels life; it is not a report on nature or on intimate disclosure of inner secrets. Color, in my opinion, behaves like man -- in two distinct ways: first in self-realization and then in the realization of relationships with others.