Quotes About Interpretation

Most artists create foundations where they put their own work. Here I'm not putting my own work. I'm just creating the chambers.

?omen, we think differently than guys. Guys, you know, are very visual. Women, we work a little different.

If a work of art is to explore new environments, it is not to be regarded as a blueprint but rather as a form of action-painting.

What I want to show in my work is the idea which hides itself behind so-called reality.

There is a wealth of knowledge to be understood from others' work, don't get me wrong, and when I do stumble upon others' work, it's not lost on me.

The true work of art continues to unfold and create within the personality of the spectator. It is a continuous coming into being.

Acting has to reach everybody on some level - it's a communication of feeling - but as far as judging the work is concerned, it is, I think, something that actors know about.

Allow the artist to finish the piece of work before you critique it.

Sometimes we look at a work of art and we immediately think that it is German art, but with some we don't, it's not so obvious.

When you work on a character, you form in your mind an image of what he ought to look like. Then you go and find one who resembles him.

The way I work with music is that I take on the story.

I would not describe myself as a left-wing filmmaker. I don't think this is the first thing that would pop into my mind when talking about my work.

In fact, sometimes when I look at something my memory does work. I remember the panel where Alex Toth told me, "Mike, if you really don't understand all that, you don't need to put it on there."

I'm inspired by nature. Other artist's work is important for developing my perception.

That's where I got the idea to paint the walls of the gallery with varied colours [at the Whitechapel show]. I tried to figure out how all these Renaissance paintings manage to work together.

My work is received more intelligently in Europe.

Above and beyond drawing my creations, I try to incorporate some kind of message. I try not to end as merely a question but try to provide a conclusion within the work.

There are a lot of artists who've said they'd like to work with me. To be honest, I'm not sure there is such a thing as an inappropriate artist. The trick is matching the artist with a story.

In fact, lots of good poetry doesn't work , so I don't mind a bit of mystification or difficulty.

When I find a cover song that I like, I'll work away at it until I kind of believe that I wrote it.

Movies work, in my opinion, on the best level when they're more enigmatic, when we don't say it's this or that and where it raises more questions than answers.

I can do my part of the storytelling. I can carry it. I can paint it. I can maneuver it. I can massage it. But if I don't have anything to work with, then there's nothing.

I tell myself that, regardless of what source I draw on, I'm writing a new work for reasons peculiar to me and not an adaptation, and so feel, in the end, justified in singing it my way.

We read critics for the perceptions, for what they tell us that we didn't fully grasp when we saw the work. The judgments we can usually make for ourselves.