Billy Zane Quotes

I'm not an Expressionist. I love to look at de Kooning, but I've got this kind of secret life, and that is something that pleases me. I have to try and make something out of it.

I think of film when I paint. Even the luminosity that I always keep working for is really about film. But my idea is not to paint paintings that will decorate somebody's house.

Being in the studio, it's more of a controlled environment, where you can be Salvador Dali and sit back and look at the painting. And you can go, 'Ah, you know what? Maybe a little bit more red over here...maybe add some blue over here.' You can sit back and look at the painting.

I'm a painter, that's where I started out, at four years old, that was my first love as far as expression. So, I'm not a painter in the sense of, "Please come see my paintings" but, I do understand the value of not looking over the artist's shoulder while the work is in progress.

If it weren't for how esoteric the art world likes to be, I would love actually to play the music in the shows, painting the music that influences me most.

My painting does not come from the easel.

And all of this, all these physical aspects of painting at that time excited me very much. You could do a picture in just black and white. I mean all the things, whether you're soliciting permission or not, do give you permission.

I stick the collages on the wall and, if I still like them after a month or two, I make a painting.

I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.

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

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.

I had tried painting, mostly to give myself a greater appreciation of the craft and to inform how I looked at paintings. That led to collaging some of the work I had done on paper, and I found myself mixing in found pieces as well.

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

I paint on the ground. I paint with sticks, with big paint cans, and whatever else falls in it. Basically, what I'm doing is capturing unbridled emotion and putting it on canvas. It's like capturing lightning in a bottle.

Growing up, I enjoyed drawing, but it was always in the service of an idea. I drew all the time, and I enjoyed making.

I'm not an Abstraction Expressionist, but I think dedication to paintings comes from an early interest in that work.

I don't see myself as a photographer. I still see the photographs and collages as a resource for the painting.

That was really the Fifties for me - that whole spirit of flicking the paint on the canvas.

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

I never draw except with brush and paint.

Unlike the older, more humanly shaped arts, which begin with a seed and accumulate their form organically, photography clips its substance out of an actual continuum.

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.

When I make a picture, I make love.

Over the years I always did some water colors, and I did a series of pictures of drawings. I always did it during a period of time that was slow in the photo business, but in essence it was always frustrating because I'd get started, and then it would be time to get back to work and I wouldn't get anywhere with the painting.

My first artistic love was drawing and painting.