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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.

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)
Term
Process
Change
Long
Things
Signing
Winds
Protect
Wind

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I always thought problem solving was greatly overrated - and that the most important thing was problem creation.
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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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In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.
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A face is a road map of someone's life. Without any need to amplify that or draw attention to it, there's a great deal that's communicated about who this person is and what their life experiences have been.
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I have a great deal of difficulty recognizing faces, especially if I haven't - if I've just met somebody, it's hopeless.
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Any innovation that is evident in my paintings is a direct result of something that happened in the course of making a print.
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Those who are waiting for an epiphany to strike may wait forever. The artist simply goes to work, making art, both good and not so good.
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I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.
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Paintings can make you cry and it's just **colored dirt**.
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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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Get yourself in trouble. If you get yourself in trouble, you don't have the answers. And if you don't have the answers, your solution will more likely be personal because no one else's solutions will seem appropriate. You'll have to come up with your own.
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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.
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Ive said its a little bit like a magician performing for a convention of magicians... all the magicians in the audience watching this illusion-Do they see the illusion, or do they see the device that made the illusion? Probably they see a little of both.
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All the best ideas come out of the process they come out of the work itself.
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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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I don't work with inspiration. Inspiration is for amateurs. I just get to work.
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Inspiration is for amateurs - the rest of us just show up and get to work. And the belief that things will grow out of the activity itself and that you will - through work - bump into other possibilities and kick open other doors that you would never have dreamt of if you were just sitting around looking for a great art idea.
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I've always thought that problem-solving is highly overrated and that problem creation is far more interesting.
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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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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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