Quotes About Art

Well, I'm always working on my comic strip and trying to, you know, keep cranking that out.

Obviously, there's the seedy side of the strip club world and pole dancing. But, pole dancing, as an art form, is really beautiful. It's been hyper-sexualized because it's associated with strippers, but if you think about it, just in terms of other kinds of dancing, they're using an instrument to create these amazing dance forms.

To get syndicated as a comic strip artist is as likely as winning the lottery.

I was fascinated by stripes from the start. On clothing, they follow a woman's movements.

To me, a staircase looks like a series of dark and light horizontal stripes, which is exactly how you'd draw a staircase. So I know how the image is going to look on the page.

I'm enjoying writing songs that are more stripped back.

That's the conundrum of cartoon stripping, as opposed to political cartoons. When your anger is the driving force of your drawing hand, failure follows. The anger is OK, but it has to serve the interests of the heart, frankly.

My strips are not always funny, and they can be pretty grim at times, and I know I lose readers because of it, but I can't do anything about it - my work is very much connected to something I need to do in order to feel stable.

Some of the reviewers wanted less. Some wanted lots more. Some wanted lots more of something else. But these strips are exactly what they are.

I'd paint long strips of canvas and abandon them on the beach, or put bread out in geometric patterns for the pigeons downtown. I wanted people to find something nice and intriguing to puzzle over. Then I'd go back to see if the things were still there, or if anyone would notice.

For me, the very last great strip is 'Peanuts.' After 'Peanuts,' there are a very few strips that I enjoyed for different reasons, but I don't think they were great. I don't think anything's come along since Charles Schulz - and I mean since 1950 - that I think rises above the professional or the eccentric into that realm of greatness.

I think the whole response to our art being so positive is that it rings true and it feels a unique thing and I feel that was the thing that we strive for in the beginning was to not conform to any preconceived notions of what we should be doing.

I get asked a lot if I'd want to get into live-action movies, and the answer, honestly, is 'no.' I'm an illustrator, and I think animation is an extension of that way of expressing myself. That's not to say I'd never make a live-action movie, but I don't strive for it.

I think there is a debate in the arts about, you know, whether we must strive for art for art's sake, and you know, kind of try to keep political debate out of our work. And to that I say, I'd like you to show me an example of, you know, this so-called apolitical art. I don't think there's any such thing.

It's a really cool time for artists who want to strive for a little more depth in what they want to say to come forward. We live in a very fast world right now. We've got all this media and music which is so accessible to us, it's here one minute gone the next.

I strive to express the spiritual nature of the universe.

In everything I write, I'm always striving to hit the right mix of light and darkness, humor and pain, fun and seriousness.

My interest is in completing an image that is spectacular beyond belief. My fidelity is to the image and the art and not to the bragging rights of making every stroke on every flower. I'm realistic.

In a painting, you can't make out whether the artist painted the left eye before the right eye. In Chinese calligraphy, you can see the progression of the artist's stroke.

If I was painting a picture, I wouldn't want to take a picture of a single paint stroke. I'd rather show people what it looks like when it's done.

One day I'll do a Dorian Gray, and there will be a picture in the attic. I'll look like Helen Daniels from 'Neighbours' after her stroke.

Well, I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new.

And I usually use myself as a model, posing in front of a mirror as I dab the strokes on the canvas.

Monet was like a conductor. He painted with quite a straight arm and used bold strokes.