Reed Morano Quotes

Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.

I think it's natural for an artist to explore as they evolve.

One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.

I don't really have a historical overview of my work at all. I'm not an art historian. I don't see that there's this period and that period.

I think, like any artist, those baby songs are not the best things you've ever written, but they count because they're you're first attempts at creating art and expressing yourself.

Many appreciate in my former work just what I did not want to express, but which was produced by an incapacity to express what I wanted to express - dynamic movement in equilibrium. But a continuous struggle for this statement brought me nearer. This is what I am attempting in 'Victory Boogie Woogie.'

Writing songs has always been a process where I divulge a lot, just because music is a tool for me to sift through and process intense emotions. But having music be my primary occupation has changed how I interact with art.

I think all my films have a different journey. Therefore, I take it as it comes.

Sometimes I do that quite a lot, go back and forth a lot between ideas. Try things out.

Imagine a master painting that's never finished...when you can only build on previous work, you become limited by what you can paint...If you are in the midst of painting a forest full of tall tress and hanging vines, it is rather difficult to wake up the next day and suddenly turn that paining into the beach and ocean...We have to treat each day like a black canvas on which we can paint. Yesterday might have been paining flowers, but today you can paint cars or horses. A new day represents a chance for renewal.

Whenever I got a new studio I made the largest possible painting, and since the ceiling was low, the painting became horizontal. As I changed studios and got larger spaces, I made bigger paintings.

I do not repudiate any of my paintings but there isn't one of them that I would not redo differently, if I had it to redo. My destination is always the same but I work out a different route to get there.

I am just beginning to understand what it is to paint. A painter should have two lives, one in which to learn, and one in which to practice his art.

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.

I might write four lines or I might write twenty. I subtract and I add until I really hit something I want to do. You don't always whittle down, sometimes you whittle up.

In reality, however, an artist is a product of art

I wish to be of service to the artists of our own day, by showing them how a small beginning leads to the highest elevation, and how from so noble a situation it is possible to fall to utmost ruin, and consequently, how these arts resemble nature as shown in our human bodies.

A work is never completed except by some accident such as weariness, satisfaction, the need to deliver, or death: for, in relation to who or what is making it, it can only be one stage in a series of inner transformations.

A work in progress quickly becomes feral. It reverts to a wild state overnight. It is barely domesticated, a mustang on which you one day fastened a halter, but which now you cannot catch. It is a lion you cage in your study. As the work grows, it gets harder to control; it is a lion growing in strength. You must visit it every day and reassert your mastery over it. If you skip a day, you are, quite rightly, afraid to open the door to its room. You enter its room with bravura, holding a chair at the thing and shouting, "Simba!

For me becoming a painter was an Everest, in terms of what I thought a painter was. There are many roads to becoming an artist. For me it wasn't art school. I didn't have that go to art school and then get a gallery. It's more like, how deep is your inner library to cull from. It's certainly not about technical prowess, just about depth of investigation. It takes time. I had 15 years of painting under my belt before my first New York show. I was glad to have that. It's a good thing to spend your twenties getting your craft.

One of the beauties of art is that it reflects an artist's entire life. What I've learned over the past 30 years is really beginning to inform what I make. I hope that process continues until I die.

I never thought of being a performer, never thought of being a singer, never thought of being a photographer. It's just the trajectory of my work. I go to the medium that serves the vision.

I guess I will probably produce a little bit more. For me it's a career, you create as you go along and you can't worry about always being on top.

Unlike the older, more humanly shaped arts, which begin with a seed and accumulate their form organically, photography clips its substance out of an actual continuum.

The studio experience fluctuates depending on who you work with, it's not like it's all one experience. Every studio is different, every producer's personality is different. You never know what you're going to do.