Quotes About Creativity

I've had a couple of guys that I've had co-produce records with me through my career, and it's fun to work with a co-producer.

I really want to work with Rufus Wainwright. Michael Stipe from R.E.M. I would love to work with Kanye West.

It's as if Thomas Kinkade and Dante were at a party, and one turned to the other sometime after midnight and uttered that classic line "You know, we really should work together sometime.

My favorite thing in the whole is getting to work with the actors.

I like to work on records when I feel inspired, not because it's expected of me.

'All Our Yesterdays' was unquestionably the best work I have ever done. And the reading public stayed away in droves.

Agnes Martin is a big influence in my work actually, when I first saw her, these fine grids.

I've always said my biggest influence is my, just, the last work I did, the last piece I made.

I am very easy. I like to have my work out. I am not restrictive about any of that. It is the collectors that are possessive, not me, not me.

I work sometimes with dealers and sometimes people just come to me. A lot of the commissions, they just know me. They have seen something and they just approach me.

I work with deadlines. It is terrible to be an artist where you are just producing work and nobody gives a damn. Nobody wants to show it.

I'm always looking for relations between my work and the old masters.

I do like certain kinds of frames for work. That's important.

I'm fortunate in one respect; that I don't have a lot of work in my studio. Most of it's out, gone; either sold or in galleries. I work with a lot of galleries.

I always took photographs. I photographed a lot of trees, by the way, which is another image I used often in my work, the tree image.

Art is challenging and frustrating but I don't linger in it. I work on five paintings at a time so if I'm frustrated I put one down and begin another.

If you can learn to be incredibly passionate about your work without fighting for it just because it's yours, that's a huge thing.

When somebody would come in with a sketch that was not so good, you figured out in a room how to make that sketch work.

I used to work very long hours. Then I started to realize that the stuff that I was writing in the late afternoons, I was generally throwing out. So I quit earlier than I used to.

You turn your life into a work of art in order to redeem the ordinariness - a condition you are stuck with.

Sometimes directors will hire you and say, 'Oh, we love your work.' And then they start to tell you how to do it. I say, 'Hey, man, back off. You hired me to do it. Let me do it.'

Any fool can make enough money to survive. It's another thing to keep yourself consistently entertained. It's a lot of work, and a lot of fun, to make a life.

The Canadian painter A. Y. Jackson noted that 'failure of sight' was a tiresome problem. He meant we should be able to look at our work-in-progress as if it were previously unseen.

An early flourish of confidence is useful. Then there's the small crudities - the slubs and bumps that come with outdoor work - the odd charm of imprecision.