That is what's important. The life of the line. When I draw, it's like tied and untied writing. My lines can be vivid or dead. The drawing is beautiful if the line is alive. A line is in danger of dying all along.
My method of drawing is very much like jazz improvisation. I improvise with the lines and the colors. (...)
There's great joy in drawing. Writing is drawing in different apparel, and drawing is another way of writing. And when I draw, I write. Perhaps when I write, I draw.
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What is line? It is life. A line must live at each point along its course in such a way that the artist’s presence makes itself felt above that of the model... With the writer, line takes precedence over form and content. It runs through the words he assembles. It strikes a continuous note unperceived by ear or eye. It is, in a way, the soul’s style, and if the line ceases to have a life of its own, if it only describes an arabesque, the soul is missing and the writing dies.
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The exercise of drawing from the life brings out the individuality of the (artist) in the man. When the door has been closed on completion of an academic rendering, no matter how rendered to the resemblance of the anatomic stress and strain, it is still only saying the things you already know... it is still a lifeless drawing in the light of modern art.
It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one. Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear and I feel the drawing making itself, the image taking hold. This in turn moves me towards painting -anxious to get to the same place, with the actuality of paint and light.
One of my primary goals in my own artistic expression is to avoid the abyss of being “cute”, “tasty”, “nice” and any other deeply rooted formalism (particularly in stereotypical motives/composition and superficial “spirituality”). On other hand, I am trying to reach direct, spontaneous, raw expression, with a heavy emphasis on personal and authentic artistic handwriting. Some people are focused on, or even obsessed with the “beauty” of line and its graciosity. And that is a legitimate intention and a necessary one in calligraphic writing, but it is not my path. At the end of the day, I will produce my own shape, my own drawing texture and my own morphology of a line. I do not care if it is “ugly”, almost always a subjective description, or “imperfect”, or not in keeping with a traditional view and a consideration of “craftmanship”. It must be a genuine and direct materialization and footprint of my mind’s flow and structure along with my feeling. And when such an “event” occurs, by default, it inherently contains clarity and artistic honesty. With this approach, I believe that I will create original art, original at its very root, my own artistic grammar.
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