Pastoral Resources

Painting is a language which cannot be replaced by another language. I don't know what to say about what I paint, really.

Many men are deeply moved by the mere semblance of suffering in a woman; they take the look of pain for a sign of constancy or of love.

You get very tired, and there was a certain amount of pain and you slow up. Your legs are so tired that you are in fact slowing. If you don't keep running, keep your blood circulating, the muscles stop pumping the blood back and you get dizzy.

I was always a great bundle of energy. As a child, instead of walking, I would run. And so running, which is a pain to a lot of people, was always a pleasure to me because it was so easy.

'Tis not where we lie, but whence we fell; the loss of heaven's the greatest pain in hell.

The goal is always to make a nice tableau painting with the voice. The more color I can find, the more shadow I can find - the goal is always to make more nuance and colors.

I always feel attacked when I'm asked about my painting.

I always work out of uncertainty but when a painting's finished it becomes a fixed idea, apparently a final statement. In time though, uncertainty returns... your thought process goes on.

I had always loved expressionist painting, like every European. In fact I admired it all the more because these were precisely the paintings despised by my father's generation.

I found I have to stay painting.

I believe that the reason why I love painting so much is that it forces one to be objective. There is nothing I hate more than sentimentality.

I hardly need to abstract things, for each object is unreal enough already, so unreal that I can only make it real by means of painting.

I believe the reason I love painting so much is that it forces one to be objective.

Painting is a very difficult thing. It absorbs the whole man, body and soul, thus have I passed blindly many things which belong to real and political life.

Painting constantly appeared to me as the one and only possible achievement.

The moment an ill can be patiently handled, it is disarmed of its poison, though not of its pain.

Love and pain become one in the same in the eyes of a wounded child.

Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.

Painting, n.: The art of protecting flat surfaces from the weather, and exposing them to the critic.

My movement from painting to film was a very conscious one.