talking, he said his father was a painter. I thought maybe he might have been a house painter, but further talking got me around to the fact that he was a fine artist.
This conversation changed my life. I had been somewhat interested in science, but I suddenly knew that I wanted to be a painter. And I wanted to live the art life.
THE ART LIFE
In high school, I read Robert Henri’s book The Art Spirit, which prompted the idea of the art life. For me, living the art life meant a dedication to painting—a complete dedication to it, making everything else secondary.
That, I thought, is the only way you’re going to get in deep and discover things. So anything that distracts from that path of discovery is not part of the art life, in that way of thinking. Really, the art life means a freedom. And it seems, I think, a hair selfish. But it doesn’t have to be selfish; it just means that you need time.
Bushnell Keeler, the father of my friend Toby, always had this expression: “If you want to get one hour of good painting in, you have to have four hours of uninterrupted time.”
And that’s basically true. You don’t just start painting. You have to sit for a while and get some kind of mental idea in order to go and make the right moves. And you need a whole bunch of materials at the ready. For example, you need to build framework stretchers for the canvas. It can take a long time just to prepare something to paint on. And then you go to work. The idea just needs to be enough to get you started, because, for me, whatever follows is a process of action and reaction. It’s always a process of building and then destroying. And then, out of this destruction, discovering a thing and building on it. Nature plays a huge part in it. Putting difficult materials together—like baking something in sunlight, or using one material that fights another material—causes its own organic reaction.Then it’s a matter of sitting back and studying it and studying it and studying it; and suddenly, you find you’re leaping up out of your chair and going in and doing the next thing.That’s action and reaction.
But if you know that you’ve got to be somewhere in half an hour, there’s no way you can achieve that. So the art life means a freedom to have time for the good things to happen.There’s not always a lot of time for other things.
A GARDEN AT NIGHT
So I was a painter. I painted and I went to art school. I had no interest in film. I would go to a film sometimes, but I really just wanted to paint.
One day I was sitting in a big studio room at the Pennsylvania Academy of the Fine Arts.The room was divided into little cubicles. I was in my cubicle; it was about three o’clock in the afternoon. And I had a painting going, which was of a garden at night. It had a lot of black, with green plants emerging out of the darkness. All of a sudden, these plants started to move, and I heard a wind. I wasn’t taking drugs! I thought, Oh, how fantastic this is! And I began to wonder if film could be a way to make paintings move.
At the end of each year, there was an experimental painting and sculpture contest. The year before, I had built something for the contest, and this time I thought: I’m going to do a moving painting . I built a sculptured screen—six feet by eight feet—and projected a pretty crudely animated stop-motion film on it. It was called Six Men Getting Sick. I thought that was going to be the extent of my film career, because this thing actually cost a fortune to make—two hundred dollars. I simply can’t afford to go down this road, I thought. But an older student saw the project and commissioned me to build one for his home. And that was what started the ball rolling. After that, I just kept getting green lights.Then little by little—or rather leap by leap—I fell in love with this medium.
CURTAINS UP
Know that all of Nature is but a magic theater, that the
This conversation changed my life. I had been somewhat interested in science, but I suddenly knew that I wanted to be a painter. And I wanted to live the art life.
THE ART LIFE
In high school, I read Robert Henri’s book The Art Spirit, which prompted the idea of the art life. For me, living the art life meant a dedication to painting—a complete dedication to it, making everything else secondary.
That, I thought, is the only way you’re going to get in deep and discover things. So anything that distracts from that path of discovery is not part of the art life, in that way of thinking. Really, the art life means a freedom. And it seems, I think, a hair selfish. But it doesn’t have to be selfish; it just means that you need time.
Bushnell Keeler, the father of my friend Toby, always had this expression: “If you want to get one hour of good painting in, you have to have four hours of uninterrupted time.”
And that’s basically true. You don’t just start painting. You have to sit for a while and get some kind of mental idea in order to go and make the right moves. And you need a whole bunch of materials at the ready. For example, you need to build framework stretchers for the canvas. It can take a long time just to prepare something to paint on. And then you go to work. The idea just needs to be enough to get you started, because, for me, whatever follows is a process of action and reaction. It’s always a process of building and then destroying. And then, out of this destruction, discovering a thing and building on it. Nature plays a huge part in it. Putting difficult materials together—like baking something in sunlight, or using one material that fights another material—causes its own organic reaction.Then it’s a matter of sitting back and studying it and studying it and studying it; and suddenly, you find you’re leaping up out of your chair and going in and doing the next thing.That’s action and reaction.
But if you know that you’ve got to be somewhere in half an hour, there’s no way you can achieve that. So the art life means a freedom to have time for the good things to happen.There’s not always a lot of time for other things.
A GARDEN AT NIGHT
So I was a painter. I painted and I went to art school. I had no interest in film. I would go to a film sometimes, but I really just wanted to paint.
One day I was sitting in a big studio room at the Pennsylvania Academy of the Fine Arts.The room was divided into little cubicles. I was in my cubicle; it was about three o’clock in the afternoon. And I had a painting going, which was of a garden at night. It had a lot of black, with green plants emerging out of the darkness. All of a sudden, these plants started to move, and I heard a wind. I wasn’t taking drugs! I thought, Oh, how fantastic this is! And I began to wonder if film could be a way to make paintings move.
At the end of each year, there was an experimental painting and sculpture contest. The year before, I had built something for the contest, and this time I thought: I’m going to do a moving painting . I built a sculptured screen—six feet by eight feet—and projected a pretty crudely animated stop-motion film on it. It was called Six Men Getting Sick. I thought that was going to be the extent of my film career, because this thing actually cost a fortune to make—two hundred dollars. I simply can’t afford to go down this road, I thought. But an older student saw the project and commissioned me to build one for his home. And that was what started the ball rolling. After that, I just kept getting green lights.Then little by little—or rather leap by leap—I fell in love with this medium.
CURTAINS UP
Know that all of Nature is but a magic theater, that the
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