When I see a white piece of paper, I feel I've got to draw. And drawing, for me, is the beginning of everything.
Everything that I saw became something to be made, and it had to be exactly as it was, with nothing added. It was a new freedom: there was no longer the need to compose. The subject was there already made, and I could take from everything. It all belonged to me: a glass roof of a factory, with its broken and patched panels, lines on a road map, a corner of a Braque painting, paper fragments in the street. It was all the same: anything goes.
Interpretation
What this quote means
This quote expresses the idea of finding inspiration and freedom in existing forms and objects, rather than creating something entirely new from scratch.
Ellsworth Kelly's quote emphasizes the notion of artistic freedom and the idea that inspiration can be derived from the mundane and commonplace. Instead of adhering to traditional composition methods, he suggests that everything around us can serve as a canvas or a source of creativity, encouraging artists to embrace their surroundings and see beauty in the overlooked. This perspective promotes the understanding that art does not always require invention but can be about interpretation and recontextualization.
Themes
In practice
Example use cases
In an art workshop, while discussing abstraction, one might quote this to inspire students to see beauty in everyday objects.
More from Ellsworth Kelly
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What I've learned how to do as I've gotten older is to take all of the information that I have, and push it aside, and try to distill each song into an emotional theme. The hardest thing that I've ever had to learn how to do in playing music is use the sound of my instrument to create an emotional effect.
White, older showrunners told me, 'Why do you want to hire an all-Latinx writers room? Hire who's best for the show - don't get caught up in that.' And I was like, 'No.' For such an intimate show about the details of a culture? You can't fake that. The room needs to reflect the makeup of the show.
I wanted to show the history and strength of all kinds of black women. Working women, country women, urban women, great women in the history of the United States.
It wasn't just about doing tricks. It's about taking an audience to another place, a special place, so they can really suspend their disbelief. Its about amazing the audience as well as moving them.
You've got to sell your heart, your strongest reactions, not the little minor things that only touch you lightly, the little experiences that you might tell at dinner. This is especially true when you begin to write, when you have not yet developed the tricks of interesting people on paper, when you have none of the technique which it takes time to learn. When, in short, you have only your emotions to sell.
The Dance instills in you something that sets you apart. Something heroic and remote.