46 ordspråk av Chuck Close

Chuck Close

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Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.

We were all figuring out ways to build an image rather than paint it. Sculptors didn't want to work in bronze or marble or wax. They wanted to find a material that didn't have any art use. We were similarly trying to find ways of working that were not about paint-it-in, paint-it-out, scrape-it-off -- some way of working all over at once.

I didn't want a model in the room for three or four months. It would drive me crazy, drive them crazy. But also, they gain weight, they lose weight, their hair gets long, they cut it short, they're awake, they're asleep. And a painting becomes the mean average of all those conditions. I simply looked at photography as a way to jot down the information.

And I think, you know, painters drop crumbs along the trail, Hansel and Gretel style, for people to pick up if they want to.

It doesn't upset artists to find out that artists used lenses or mirrors or other aids, but it certainly does upset the art historians.

I'm plagued with indecision in my life. I can't figure out what to order in a restaurant.

You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.

Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.

Very few people have written about what a work really looks like, especially once there were photographic reproductions of works and so they felt that the photograph would carry the information, and, of course, it does a piss poor job of letting someone know of the scale of the work and of the physicality and how thick the paint was and what the touch was.

I love what used to be called women's work. When women make quilts or something like that, it was something they could pick up or put down, and go back to after they start dinner or weed the garden or whatever... feed the baby. I like that. I liked knowing where I was going to be for a while.

What difference does it make whether you're looking at a photograph or looking at a still life in front of you? You still have to look.

At the same time that I'm finding the color world I want, I'm also trying to make the imagery, you know, by the nature of the strokes themselves.

I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.

I've said it's a little bit like a magician performing for a convention of magicians... all the magicians in the audience watching this illusion-Do they see the illusion, or do they see the device that made the illusion? Probably they see a little of both.

Europe often seems sort of overly concerned with the weight of history and stuff. We don't have much history here, so... .

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