Luke Macfarlane Quotes

Well, I know, after all, it is only juxtaposition, Juxtaposition, in short; and what is juxtaposition?

I say that in narrative paintings one should mingle direct contraries close by, because they produce strong contrasts with one another, and all the more so when they are very close together; that is, the ugly next to the beautiful, the big to the small, the old to the young, the strong to the weak; in this way you will vary as much as possible and close by.

Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.

I like to work my camera as if it were a musical instrument.

There's something fascinating about watching artists draw.

I don't really consider myself an impressionist.

Shadow is a colour as light is, but less brilliant; light and shadow are only the relation of two tones.

A sculpture is just a painting cut out and stood up somewhere.

Which is probably the reason why I work exclusively in black and white... to highlight that contrast.

Sometimes I think that there's a fine line between impressionistic and messy.

I love the idea of modern art in a home that isn't totally modern. There's a certain energy that comes out of that juxtaposition.

I get the same charge from juxtaposition of colors as I do from juxtaposition of chords.

In a painting, you can't make out whether the artist painted the left eye before the right eye. In Chinese calligraphy, you can see the progression of the artist's stroke.

In praising Antony I have dispraised Caesar.

The juxtaposition between fishing and touring couldn't be greater.

If you take a Baroque commode and put a Baroque clock on top of it, maybe it is not so interesting as when you put a computer on top of it. Then you see both items in a new way.

Ideas never quite exist for him until they have been pitted against something else.

At least on this side.

I've spent so much of my life examining the smallest details. In some ways, it's where I feel most at home. For me, it's super-important to understand all of the different nuances of light and shade. But if you can't paint in primary colours, no one's going to listen to your songs, because they need to feel like something.

Some art needs to be hung on the wall and stared at inquisitively, while other pieces require a more active approach.

I suppose I consider my work a kind of picture making.

Often, contrasts bring art to life: the bright speck of paint on a dark canvas; the tightrope walk between humor and tragedy.

If you stare at suds, you'll go crazy. But in soap suds, you'll find bubble cubes and many other forms. I just take those things, magnify them and sometimes blow smoke inside it so you can see it better.

I love to have contrast.

An artiste's input, her ability to create dimensions within the given space is very important.