Sunrise looks spectacular in the nature; sunrise looks spectacular in the photos; sunrise looks spectacular in our dreams; sunrise looks spectacular in the paintings, because it really is spectacular!
Great art has dreadful manners. The greatest paintings grab you in a headlock, rough up your composure, and then proceed in short order to re-arrange your reality.
The paintings each take several months to do and it's quite a cathartic and intense experience that's very pleasurable, but also very strange.
I don't (do) the paintings for the money at all. I just love to paint, even if I don't sell them.
Everybody has a direct view of the person "behind" the art, so there is going to be a certain amount of awareness of who is making songs. But I like paintings where you can see the brush-strokes.
It is not your paintings I like, it is your painting.
A man who has not suffered has nothing to tell with his paintings.
The world concerns me only in so far as I have a certain debt and duty to it, because I have lived in it for thirty years and owe to it to leave behind some souvenir in the shape of drawings and paintings – not done to please any particular movement, but within which a genuine human sentiment is expressed.
It would be quite amusing to preach a bit to all those people who for many years now have been looking at our paintings and either laughed or shook their heads reproachfully. They do not believe that these impressions, these instant sensations, could contain even the smallest grain of sanity. If a tree is red or blue, or a face is blue or green, they are sure that is insanity.
There could be a hundred paintings in every one painting, depending on when you stop.
I am trying to get my paintings a bit lighter in tone, as some of my recent oils have been mistaken for night scenes.
In this world, artists are joyous. Unpredictability is the life of their paintings, their music, their novels. They delight in events not forecasted, happenings without explanation, retrospective.
Art is challenging and frustrating but I don't linger in it. I work on five paintings at a time so if I'm frustrated I put one down and begin another.
Why does no one speak of the cultural advantages of the country? For example, is a well groomed, ecologically kept, sustainably fertile farm any less cultural, any less artful, than paintings of fat angels on church ceilings?
I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings.
If you study the history of mankind, it seems to be a history of violence. Certainly the history of art, whether you look at paintings or movies or plays or whatever, is just a litany of murder and death.
So many people seem to prefer my silver-screenings of movie stars to the rest of my work. It must be the subject matter that attracts them, because my death and violence paintings are just as good.
Woven through Timothy J. Clark’s paintings are unique combinations of visual and emotional stimuli. His sense of space, light and composition combine to create graphic tensions which intrigue beyond the beautifully-painted forms of the subjects.
My paintings are loosely based on meta narratives. The pictures float in and out of pictorial genres. Still life's become personified, portraits become events, and landscapes become constructions. I embrace the area between which the subject is composed and decomposing, formed and formless, inanimate and alive.
Theres something in music that fascinates me - how it communicates emotion so immediately. Thats something I wanted in my paintings.