American - Artist | May 31, 1923 - December 27, 2015
I just feel like I can live on. I hope I can reach 100. I think today if you just keep doing, keep working, that - maybe that's possible.
Ellsworth Kelly
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In Paris in the late '40s, I started making my first reliefs. They are separate panels. I wanted to do something coming out of the wall, almost like a collage. I did a lot of white reliefs when I started because I liked antique reliefs, really old stuff.
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I did not want windows, only skylights. I chose my painting wall as it has the best morning light.
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I don't like acrylic because you can't get the density of color. And with each coat of oil paint, the surface gets better and richer.
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Shape and color are my two strong things. And by doing this, drawing plants has always led me into my paintings and my sculptures.
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I'm constantly investigating nature - nature, meaning everything.
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I have a sort of inner sense for scale.
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One of the first drawings I did in Paris - I wasn't thinking of doing drawings, but somehow or other, I kept drawing - I bought a hyacinth flower with a lot of leaves, just to make me feel like spring.
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My drawings have to be quick. If they don't happen in 20 minutes or a half hour, then they're no good.
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My earliest drawing is a supposed Carracci. It wasn't very expensive, I guess, because they don't know if it's a real Carracci. But it has all these seals on it of people who've owned it, and one of the great portrait painters of England, Reynolds, had owned it, so that's the earliest.
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I've always wanted... I wanted to give people joy.
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I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.
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