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Have as much fun as you can and don't feel that the edge of your canvas confines you - let your vision go right on.
What makes a set of lines and colors into art is the relationship between this line and that one; the way one color or form echoes another in a different part of the canvas.
You put a blob of yellow here, and another at the further edge of the canvas: straight away a rapport is established between them. Colour acts in the way that music does.
I then discovered the Pop Art of Warhol, Lichtenstein, and Peter Max. I was inspired that these fun and colourful images could be presented seriously on canvas.
For me, the canvas is an abstract interpretation of a wall. It's a piece of art with its own history, one that alludes to the passage of time and to the theater of life.
On the contrary, my desire is that the viewer sees the background coming forward in the lower portion of the canvas, fighting for space, demanding presence.
When I work alone, it can be like dabbling with a canvas. Maybe you paint over bits, and it starts to form its own life and lead you off in a direction. It becomes an intuitive, subconscious process.
When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.
The canvas you are working on modifies the previous ones in an unending, baffling chain which never seems to finish. What sympathy is demanded of the viewer? He is asked to 'see' the future links.
Those who largely rely on their hands and the beautiful or shocking traces of the imagination that they leave on the canvas ...CONCRETE... one builds a picture.
When you give an artist a canvas, you shouldn't tell him exactly how much paint to put on it, or exactly how sharp the images should be. You should let the artist get going.
My app is the same juicy paint used by Vincent Van Gogh; my screen is the woven canvas of Titian. Painting by hand, I've come to figure, is a certain kind of love.
My training was that you fill in the canvas where it needs colour and polishing. You start with the words on the first night and keep adding bits of business.
I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.
I've started to experiment [in the studio] with texturing the canvas, building up the surface with large brushes, palette knife or fingers. I want to say more in my art.
If hindrances obstruct the way, Thy magnanimity display. And let thy strength be seen: But O, if Fortune fill thy sail With more than a propitious gale, Take half thy canvas in.
I really believe in keeping your canvas very basic and sort of adding the accouterments from there. I look at creating intrigue with outfits through accessories.
I have to decide whether I'm just laying down a groove, kind of a bed and canvas for the lyrics and music to live on, or trying to illustrate something in the lyrics.
The big moment came when it was decided to paint...Just To Paint. The gesture on the canvas was a gesture of liberation, from Value- political, aesthetic, moral.
Only the series of colors on the canvas with all their power and vibrancy could, in combination with each other, render the chromatic feeling of that landscape.