Amy Sherald Quotes

Film is important; it can be more than reportage or a novel - it creates images people have never seen before, never imagined they'd see, maybe because they needed someone else to imagine them.

I'm really interested in making a mark on a paper and letting that be cursive shorthand for an idea - that's the origin of cartooning.

You can't do sketches enough. Sketch everything and keep your curiosity fresh.

Drawing is still basically the same as it has been since prehistoric times. It brings together man and the world. It lives through magic.

When I first met my husband, he was sculpting Vilnius out of clay - a sort of Vilnius, anyhow: a map of an imaginary European city based on the Lithuanian capital - to illustrate his second novel.

In front of the camera I look and I see visually what I've created.

Your instincts for what's dramatic are the same whether you're working on a drawing or on a script.

Growing up, I enjoyed drawing, but it was always in the service of an idea. I drew all the time, and I enjoyed making.

To be an animator you have to be able to tell stories but I'm not very verbal - I definitely do it through pictures.

I like to think of an image as different from a photo.

Writing is not my forte, but I am good at visualising.

I'd like to study the drawings of kids. That's where the truth is, without a doubt.

Drawing is the root of everything.

Drawing is putting a line around an idea.

If, in making a portrait, you hope to grasp the interior silence of a willing victim, it's very difficult, but you must somehow position the camera between his shirt and his skin. Whereas with pencil drawing, it is up to the artist to have an interior silence.

Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear... making itself, the image taking hold. This in turn moves me toward painting - anxious to get to the same place, with the actuality of paint and light.

Why talk about sculpture when I can photograph it?

The contest between form and content is what, is what art is about - it's art history. That's what basically everybody has ever contended with. The problem is uniquely complex in still photography.

I was always fascinated by the fact that you could take paper and ink and create worlds, images, characters. It seemed like magic.

My eyes has been my camera taking pictures of the world and my songs has been my messages that I tried to scatter across the back sides and along the steps of the fire escapes and on the window sills and through the dark halls.

I think the best thing I learned from drawing comics is that it's a great exercise in concision.

What is drawing? Not once in describing the shape of the mass did I shift my eyes from the model. Why? Because I wanted to be sure that nothing evaded my grasp of it... My objective is to test to what extent my hands already feel what my eyes see.

Drawing is your understanding of form.

It's a little bit like talking about the life of writing. The life of writing may be about many things, but it always begins with the writer. With the kernel of an idea, or a character, or an idea or a theme, or even an outcome. But for documentary photographers, photographs begin at that intersection of the real world and the imaginative inner world.

My recent drawings that personal ones aren't fashion-related. I sometimes sit and draw people on the bus, or some fantasy hybrid animal. You know, wherever the hand will lead.