I choose color on the spur of the moment. People ask me why I paint in red. I do not have the slightest idea. I was painting in blue, then I had a need to paint in red. To be… — Guido Molinari Copy Share Image
Just listening carefully to what the musicians are really doing, putting the music in the right time... I became aware of the degree to which time, and therefore duration, was important in music and in art. It had a direct… — Guido Molinari Copy Share Image
You begin by engaging the left hemisphere of the brain with the overall shape, the basic structure of the painting, and then eventually you… — Guido Molinari Copy Share Image
With monochrome painting... the idiosyncrasy of the work, its difference, its expression, lies in shape. — Guido Molinari Copy Share Image
Just as with the quartet, each part of a painting is telling a different story. — Guido Molinari Copy Share Image
In a way, the blank canvas... represents the infinity of trying to use color to express emotions - to assign a linguistic function to… — Guido Molinari Copy Share Image
Anything is of course inexhaustible, because at each moment the brain has a different pattern to construct. — Guido Molinari Copy Share Image
The question of painting is bound up with epistemology, with the engagement of the viewer, with what the viewer may learn. — Guido Molinari Copy Share Image
I choose color on the spur of the moment. People ask me why I paint in red. I do not have the slightest idea.… — Guido Molinari Copy Share Image
Just listening carefully to what the musicians are really doing, putting the music in the right time... I became aware of the degree to… — Guido Molinari Copy Share Image
Seeing is looking at something in saturation. But we tend to look at something for, say, 1/30 of a second. — Guido Molinari Copy Share Image
It's impossible to just localize your perceptions - because the stimuli come from both eyes. — Guido Molinari Copy Share Image
