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Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.

Chuck Close

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Chuck Close
Age: 81 †
Born: 1940
Born: July 5
Died: 2021
Died: August 19
Drawer
Graphic Artist
Painter
Photographer
Monroe
Washington
Charles Thomas Close
Charles Close
Chuck Close (1940-2021)
Charles Close (1940-2021)
Persons
Object
Person
Objects
Real
Walk
Like
Walks
Almost
Sculpting
Space
Occupies
Another
Sculpture
Around
Relate

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Like any corporation, I have the benefit of the brainpower of everyone who is working for me. It all ends up being my work, the corporate me, but everyone extends ideas and comes up with suggestions.
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Most people are good at too many things. And when you say someone is focused, more often than not what you actually mean is they're very narrow.
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It's always a pleasure to talk about someone else's work.
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Inspiration is highly overrated. If you sit around and wait for the clouds to part, it's not liable to ever happen. More often than not, work is salvation.
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I learned you could suffer a terrible tragedy and still be happy again.
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What difference does it make whether you're looking at a photograph or looking at a still life in front of you? You still have to look.
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You know, the way art history is taught, often there's nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.
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The camera is objective. When it records a face it can't make any hierarchical decisions about a nose being more important than a cheek. The camera is not aware of what it is looking at. It just gets it all down.
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I never said the camera was truth. It is, however, a more accurate and more objective way of seeing.
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Losing my father at a tender age was extremely important in being able to accept what happened to me later when I became a quadriplegic.
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There are so many artists that are dyslexic or learning disabled, it's just phenomenal. There's also an unbelievably high proportion of artists who are left-handed, and a high correlation between left-handedness and learning disabilities.
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I have always attempted to create images that deliver the maximum amount of information about the subject.
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Inspiration is for amateurs. The rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process they come out of the work itself.
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I think women realise that I love women, and very often women seem to love me.
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There's something Zen-like about the way I work - it's like raking gravel in a Zen Buddhist garden.
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There are things about signing on to a process over the long term that protect you from the buffeting winds of change.
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When you come up in the art world, whatevers in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.
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I'm plagued with indecision in my life. I can't figure out what to order in a restaurant.
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Paintings can make you cry and it's just **colored dirt**.
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At the same time that I'm finding the color world I want, I'm also trying to make the imagery, you know, by the nature of the strokes themselves.
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