English - Artist | May 9, 1962 -
It's not part of my ambition to become fabulously rich. My plan was always to make my pictures, and hopefully people would buy them, and then I'd buy a studio, buy a house, help friends out, do bits and bobs - but I've no idea after that.
Gary Hume
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I love to see a wood full of bluebells. Growing up in the Kent countryside, I have special memories of this brief annual spectacle.
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I'd like to give people leaden boots in galleries, so they'd be a bit slower in front of my paintings. And that's because I spend so much time looking at them. I can look at them a long, long time without getting bored. I disappear.
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My mum always liked poetry, and she had pictures on the wall, so there was this visual stuff around.
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Now, I love painting. I love looking. I love the fact that they don't move. They constantly change with the light. They are sort of patient.
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All art becomes history as soon as it is made, so it is inevitably part of a tradition. It doesn't matter a toss if it is in paint or in film; it is all art.
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I think Picasso is more feminine than Matisse.
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I'm probably not going to develop to a final state as an artist. Like, become better and better, more and more refined. Become 'pure.' I don't think that's going to happen to me, because I don't really see that as something I want to explore.
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I have to take it as a given that I have got a certain ability to do something. I can be an artist, which is take something and transform it into another thing. I can just see something, and I can see my painting.
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I like things that are just about to go. Everything's leaving. Death is never far away from me. When you make something, death can't help but be in it.
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If I'm feeling desperate, I'll go out image-hunting. I'll go to news agents and stand at the rack flicking through magazines or go to second-hand bookshops. And then, bit by bit, like concrete poetry, I start to realise that I am drawn to particular things, and then I start wondering why that is.
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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.
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