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I wanted to do something figurative. Well I couldn’t visualize a whole man... I felt that I wanted to make a painting primarily with painterly means. So I flattened out my canvas and made them roughly rectangular divisions, with lines going out in four directions. That is, vertically and horizontally... And then I would free associate, putting whatever came to my mind freely within these different rectangles... I thought of it as related tot the automatic writing the surrealists were interested in.
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p. 55-59

 

Adolph Gottlieb

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In 1949, I ceased figurative painting and began works that were object oriented. The drawings from plant life seem to be a bridge to the way of seeing that brought about the paintings in 1949 that are the basis for all my later work. After arriving in Paris in 1948, I realized that figurative painting and also abstract painting (though my knowledge of the latter was very limited) as I had known in the 20th century no longer interested me as a solution to my own problems. I wanted to give up easel painting which I felt was too personal.

 

Ellsworth Kelly

 

If you push it, it feels good; I don’t know what it is. It must have something to do with kinesthesia. I feel now that I am painting I’m not drawing anything, or even representing non-objective art. You know, you can represent abstract art, too, as well as heads figures, nudes. A lot of abstract artists are just representational painters, you know that. And a lot of figurative artists are very abstract. I don’t feel as if I’m doing that. I feel more as if I’m shaping something with my hands. I feel as if I’ve always wanted to get to that state. Like a blind man in a dark room had some clay, what would he make? I end up with 2 or 3 forms on a canvas, but it gets very physical for me. I always thought I am a very spiritual man, not interested in paint, and now I discover myself to be very physical and very involved with matter. I want to be involved with how heavy things are, a balloon, how light things are, things levitating, pushing forms, make me feel as if my hand is pushing in a head, bulges out here and pushes there.

 

Phillip Guston

 

I wanted to see that grizzly f**ker. I wanted to see him flower. I wanted to see him blossom under the fact of love. I wanted to see where the sonnets came from. They came from the same pen of despair that wrote Timon of Athens— I wanted to see that guy. I wanted to see that guy with the sensibilities of a man that could create a body of work that would last century after century. I wanted to see that... I wanted to play that character. I loved the script. I mean, it was an incredibly well observed script about actors. That's why I thought it was so cool.

 

Russell Crowe

 

I've kind of made Jack a hero that I would like to have looked up to as a little boy because as a little boy, I knew I was gay but I didn't know what it was. Didn't know who to talk to about it. … I wanted kids to like him, and I wanted women, men, I wanted everyone to like him. But first I wanted people to hate him. I wanted them to think he was arrogant and pushy and too sure of himself. And I wanted them to follow the arc of the change he went through in the final episodes of Doctor Who.

 

John Barrowman

 

Around 1950-51... I was finally getting away from the pictographs and looking for something... So it was necessary to find other forms, a different changed concept. So finally after a certain period of transition I hit on dividing the canvas into two parts, which then became like an imaginary landscape... What I was really trying to do when I got away from the pictographs was to make this notion of the kind of polarity clearer and more extreme. So the most extreme thing that I could think of doing at the time was dividing the canvas in half, make two big divisions and put something in the upper division and something in the lower section. So I painted that way... I would say roughly from 1952 to 56/57. About five years.

 

Adolph Gottlieb