If I had a place with a studio where I could paint I'd be happy.
In the creative community, there's no excuse for not making a more equitable environment.
Sometimes a creative environment affects what happens within it.
I have the barn, it's just kind of like a studio. Almost all artists have la studio to work in, and that's really what it is. A place to get away. I'll spend maybe four days out there if I can, just completely immersed - like where I don't bathe or brush my teeth for a few days, just get up and make coffee and experiment until the sun goes down.
You cannot just be working in a vast, air-conditioned loft space and think you are going to make a decent painting. Francis Bacon had a special studio built, and he felt completely emasculated in there. I have to be somewhere comfortable.
I think that's what Dylan's trying to do: to create a space artistically where something else can take shape, can take life - where there's hope.
The promise of any artwork is that it can hold us - viewer and maker - in a conflicted or contestable space, without real-world injury or loss.
But, after all, the aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live.
I always forbade everyone to clean my studios, dust them, not only for fear they would disturb my things, but especially because I always counted on the protection of dust. It's my ally. I always let it settle where it likes. It's like a layer of protection.
The aim of art is to create space.
Today, I don't even think that people like [James Baldwin] are possible. He would not have that much room.
When you face obstacles or go through different phases, I always relied on my music. I depend on my music, my teammates. So at the end of the day, having incredible music, for me, would keep me in the space I want to be as an artist.
Art feels like it has this frame, and it's either outside or inside.
I wanted to make a place for filmmakers and artists to come and 'do their stuff,' but I didn't expect it to have had the impact that it has.
I wanted to have a place and a space, and a building, in which to create a season of work I am here because the idea of a theatrical home is very appealing to me
A canvas is an arena in which to act.
To me, being creative is a very fragile thing. The environment in which one can create is a very particular one, and somehow, I've always felt the need to be very protective of that.
I have my own studio down in Miami.
I work out of my home studio that I built in this warehouse in Philadelphia. I've kind of curated it for my needs and my sound.
The only other things I got from the abstract expressionists is the absolute belief that this canvas is the complete total area of struggle, this is the arena, this is where the fight is taking place, the battle. Everybody believes that, but you have to really believe that and work that way.
I feel like every artist has a place in their mind, this place where they exist artistically. And I just want to take people to mine, and my place is called Loveland. In Loveland, there's no war, and there's peace.
I feel like I'm stepping into a place of spiritual contemplation every time I enter a studio; it's always had a certain magic to me that has never worn off with familiarity.
For me the road became a zone, in places like Saint Marks poetry Project where I worked for 12 years.
I paint a bit myself. My house in Clerkenwell has a room that is done up like a big installation.
My dream is to have a creativity barn, in my back yard, which is full of musical instruments and every kind of paint and oils and paper, and you can just go in and make something.
