Per Kirkeby: Work

Per Kirkeby was Danish artist. Explore interesting quotes on work.
Per Kirkeby: 28   quotes 0   likes

“To achieve the structure it takes a damn long time, so my paintings are always in work for a very long time—sometimes a year. Not that I work on them every day. I will have them, and then come back to them after a year, and also return intermittently. It’s not easily done. I am not able to do “one, two, a painting.” I try to do it very quickly, but it doesn’t work with me. I simply can’t do it. Very often people look and say, 'Ah, fantastic! That’s a beautiful painting.'”

Per Kirkeby

But the moment they are out the door I start working on it. I rework it.
In a talk with Kosinski, before 'Per Kirkeby at the Phillips', in The Phillips Collection, Washington D.C. January, 2013
Kirkeby spoke to exhibition co-curator Dorothy Kosinski about the necessity of time in the development of a painting.
1995 and later

People , Beauty , Time , Painting

“Painting is laying layer upon layer. Without exception it is fundamental to all painted pictures even if they look as if they were done in one movement. The movement has always crossed its own track somewhere. It is easy to understand that a picture is layer upon layer when it comes to Picabia's puzzle pictures or my own material works, but it is difficult with the 'synchronos'. By the 'synchronous' I mean all those pictures where all the layers aim at the same picture, where the under-painting and following layers – glazed or not – fall on top of each other. The 'unsynchronous' are the ones where each new layer is a new picture. It is like geological strata with cracks and discordances. But each new layer, however furious, is always infected and coloured by the underlying one. Even when it is slates where the previous payer is completely removed physically, wiped off.”

Per Kirkeby

Source: 1965 - 1995, Bravura', Per Kirkeby, (1982), chapter 'Caption', pp. 83-84

Understanding , Painting

“A structure-less painting is, to me, a painting that does not matter. Structure mirrors your degree of responsibility toward the work. You can’t just let it float around in pretty colors. It needs a kind of core. But this is an inner structure. It does correspond to being a geologist — the metaphor may be trite, but it works. Like when you see these breathtaking mountains in strange colors in eastern Greenland. As a geologist, you want to know what exactly they’re doing.”

Per Kirkeby

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

Color , Mountain , Painting

“But through the 1990's I developed signatures, somewhat radical and unmistakably mine. Francis Picabia remains my hero. The more you dive into his work, the wilder it becomes. He painted the skewed Cubist paintings that we all know. Then came the kitsch works. And he ended up doing these strange, abstract works that are impossible to grasp. Whenever you think you’ve got him, he’s always moved along. That’s what I aspire to do.”

Per Kirkeby

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

Thinking , Painting

“I have a garden and across the road, a park. I never go for walks, but I look out the window and 'ask for permission' [to paint the view] as I call it. If I need some green, I find it there. In that sense, I’m a very old-fashioned painter, tied to nature. But I remain modern in that I execute some rather impious structures. I will react if I feel that my paintings, though abstract, become too naturalistic. I have another studio in Italy and I worked a lot there this summer. I still depend on my surroundings, so some of my work was very influenced by the Italian landscape, its olive trees and the very cold green color of the leaves. You could identify the specific landscape in those paintings and it drove me crazy. So I had to destroy them. But even destruction can still help underline what is good about a picture.”

Per Kirkeby

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

Color , Feeling , Fashion , Nature

“At my age [74], you realize that some things have caught you. You can see that as a positive or a negative. On the negative side: Are you in a routine, unconsciously adapting to things that work well?.... The black Masonite [board, Kirkeby used to underlayment for his painting].... by not painting them black and instead making them beautiful, I’ve wondered if I have sold that particular idea. Edvard Munch, as he got older, sat at his home and painted like a wild man. Those works were not very popular and have come to be considered the 'wrong' Munch. But that’s how you need to be when you get old. I call it the arrogance of age: You don’t need recognition. You just don’t care.”

Per Kirkeby

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

Age , Beauty , Home , Idea

“I became part of this German wave of new painting and sculpture [ w:Neo-expressionism ], even though I didn’t fit in. Baselitz and the other young German artists, their paintings were demonstrative figuration, while my work was more lyrical and Cubist, based on still life. None of the curators of the exhibitions at the time knew what to do with it. I could see that they almost wished I’d just withdraw. But it’s an outsider position with which I’ve been really comfortable. I was able to extend myself within my own thing, which wasn’t very successful internationally. My work was not punchy enough. I succeeded in constantly evading branding. My history with Fluxus is actually quite funny. I went to New York in 1966 as a relatively young man, wanting to meet all these artists. Denmark was extremely small and stuffy. In high school I had discovered something called Jackson Pollock, and I was furious that no one had told me about this before... I was calling around, saying, 'Hello, I’m a Danish artist. I would like to meet you.”

Per Kirkeby

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

Life , School , History , Time