Visual Exploration Quotes

The museum spreads its surfaces everywhere, and becomes an untitled collection of generalizations that mobilize the eye.

I often avoid using the terms 'figuration' and 'abstraction' because I've always tried to have it both ways. I want the experience of looking at one of my paintings to be similar to the process of making the painting - you go from the big picture to something very intense and detailed, and then back again.

A line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see. Following up its logic in order to check its accuracy, you find confirmation or denial in the object itself or in your memory of it.

I photograph continuously, often without a good idea or strong feelings. During this time the photos are nearly all poor, but I believe they develop my seeing and help later on in other photos. I do believe strongly in photography and hope by following it intuitively that when the photographs are looked at they will touch the spirit in people.

I was born in Hoboken. I am an American. Photography is my passion. The search for Truth my obsession.

My work is about seeing - seeing things like they haven't been seen before.

It took me twenty years to discover painting: twenty years looking at nature, and above all, going to the Louvre.

Knowing how to look is a way of inventing.

The idea kind of started with me just thinking about what would be fun to see in animation, you know - what have I not seen? For some reason, I got thinking about the human body and realizing, well, I've seen, like, traveling through the bloodstream and into the, you know, stomach and things.

Telescopes and binoculars endanger the ever-distant sublime.

It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one.

A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.

I like to look at everything and appreciate seeing the different things that have meaning to people.

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.

One of the best ways to see tree flowers is to climb one of the tallest trees and to get into close, tingling touch with them, and then look broad.

[The Polaroid camera is] a system that will be a partner in perception, enabling us to see the objects in the world around us more vividly than we can see them without it, a system to be an aid to memory and a tool for exploration.

For the artist, drawing is discovery. And that is not just a slick phrase; it is quite literally true.

Great images take you on a journey via a single photograph. The depth and layers pull your eye all over the frame, causing you to pick up interesting pieces along the way, ultimately coming to a climax.

Photographers stop photographing a subject too soon before they have exhausted the possibilities.

I always feel the desire to look for the extraordinary in ordinary things; to suggest, not to impose, to leave always a slight touch of mystery in my paintings.

I’m past photographing to see what things look like photographed.

But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.

What's great about documentary, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of 'documentary.'

The model should only serve the very private function for the painter of providing the starting point for his excitement.