When you stop doing something, it doesn't mean you are rejecting the previous work. That's the mistake; it's not rejecting it, it's saying, 'I have exploited it enough now and I wish to take a look at another corner.'
David HockneyRead
I can get excitement watching rain on a puddle. And then I paint it. Now, I admit, there are not too many people who would find that exciting. But I would. And I want life thrilling and rich. And it is. I make sure it is.
Interpretation
The quote expresses the joy of finding excitement in simple experiences and the importance of actively creating a rich life.
David Hockney emphasizes the beauty of appreciating ordinary moments, like watching rain on a puddle. He suggests that one can derive profound excitement from life by engaging with it creatively and openly, transforming the mundane into something thrilling through art and personal perspective.
In practice
In a creative writing workshop, to inspire students to find beauty in everyday moments.
When you stop doing something, it doesn't mean you are rejecting the previous work. That's the mistake; it's not rejecting it, it's saying, 'I have exploited it enough now and I wish to take a look at another corner.'
I'm interested in all kinds of pictures, however they are made, with cameras, with paint brushes, with computers, with anything.
I've always wanted to be able to paint the dawn.
My only worry is the painting I'm doing. Nothing else.
In fact, most artists want to make things a bit more difficult for themselves as they go along, to challenge themselves.
Cubism was an attack on the perspective that had been known and used for 500 years. It was the first big, big change. It confused people: they said, 'Things don't look like that!'
I certainly had no feeling for harmony, and Schoenberg thought that that would make it impossible for me to write music. He said, 'You'll come to a wall you won't be able to get through.' So I said, 'I'll beat my head against that wall.'
Yesterday I was thinking about the whole idea of genius and creative people, and the notion that if you create some magical art, somehow that exempts you from having to pay attention to the small things.
The arts and inventions of each period are only its costume, and do not invigorate men.
You not only have to know your own instrument, you must know the others and how to back them up at all times. That's jazz.
That's the thing about fiction writers: what seems alarming or particular or perverse about them is simply the shape of their brain - they cannot be otherwise.
Detroit, my 'great' subject, made me the person I am, consequently the writer I am - for better or worse.
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