I do strongly feel that among the greatest pieces of luck for high achievement is ordeal. Certain great artists can make out without it, Titian and others, but mostly you need ordeal. My idea is this: the artist is extremely lucky who is presented with the worst possible ordeal which will not actually kill him. At that point, he’s in business: Beethoven’s deafness, Goya’s deafness, Milton’s blindness, that kind of thing.
You are alone,
You speak back to silence.
People call it loneliness,
You call it solitude,
Meaning the same pain.
Tattooing, when understood in its entirety, must be seen as a religious act. The human being brings forth images from the center of the self and communicates them to the world. Fantasy is embodied in reality and the person is made whole.
The hack is like a politician who consults the polls before he takes a position. He’s a demagogue. He panders.
What we do see depends mainly on what we look for. … In the same field the farmer will notice the crop, the geologists the fossils, botanists the flowers, artists the colouring, sportmen the cover for the game. Though we may all look at the same things, it does not all follow that we should see them.
To make a deliberate falsification for personal gain is the last, worst depth to which either scholar or artist can descend in work or life.
(Letter to Muriel St. Clare Byrne, 8 September 1935)
A person has to be too much selfish to fulfill own wish of being surrounded by many people often, else s/he feels suffocated due to hatred or hidden jealousy from the most public around her/him.
We are uniquely magnificent!
Art is in the eye of the beholder, and everyone will have their own interpretation.
I do believe most curators – maybe I’m only speaking for myself here – want to be artists on some level. Curators must have an innate interest in what an artist makes. And they certainly have their opinions and criticisms, and the always ask, “How would I have made this, or how would another artist make this?