When I am halfway there with a painting, it can occasionally be thrilling... But it happens very rarely; usually it's agony... I go to great pains to mask the agony. But the struggle is there. It's the invisible enemy.
Richard DiebenkornRead
I don't go into the studio with the idea of 'saying' something. What I do is face the blank canvas and put a few arbitrary marks on it that start me on some sort of dialogue.
Interpretation
The quote highlights the spontaneous and exploratory nature of the artistic process rather than a predetermined message.
Richard Diebenkorn emphasizes that the essence of his artistic creation begins with a lack of preconception, focusing instead on the dialogue that unfolds on the canvas as he makes initial marks. This approach suggests that the true depth of art emerges through exploration and interaction with the medium, rather than aiming to convey a specific statement from the outset.
In practice
During a lecture on modern art, you could use this quote to illustrate the concept of artistic exploration.
When I am halfway there with a painting, it can occasionally be thrilling... But it happens very rarely; usually it's agony... I go to great pains to mask the agony. But the struggle is there. It's the invisible enemy.
In a successful painting everything is integral - all the parts belong to the whole. If you remove an aspect or element you are removing its wholeness.
I want a painting to be difficult to do. The more obstacles, obstructions, problems - if they don't overwhelm - the better. I would like to feel that I am involved at any stage of the painting with all its moments, not just this 'now' moment where a superficial grace is so available.
All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression. To call this expression abstract seems to me often to confuse the issue. Abstract means literally to draw from or separate. In this sense every artist is abstract . . . a realistic or non-objective approach makes no difference. The result is what counts.
Writing is the delicate, difficult, and dangerous means of succeeding in avowing the unavowable.
Once a month the sky falls on my head, I come to and I see another movie I want to make.
Dance design is not simply one element; it is that without which ballet cannot exist. As aria is to opera, words to poetry, color to painting, so sequence in steps - their syntax, idiom, vocabulary - are the stuff of stage dancing.
Whenever I switch from one character to another, there's always a few days where I really struggle because I'm changing voices and I'm changing ways of looking at the world. I'm not just flicking a switch; it's harder process than that.
The characters have their own lives and their own logic, and you have to act accordingly.
I work with few colors, what creates the illusion of quantity is that they fell in the right place.
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