“Pricasso had a long line of people waiting to pay him to paint with his penis. The former builder said he had always been talented at drawing but five years ago came up with the idea of creating art with a different type of implement.”

—  Pricasso

[Ellen Lutton, Sexpo draws crowds... and then they're painted, The Sun-Herald, Sydney, Australia, 7 March 2010, 25, Fairfax Media Publications Pty Limited.]
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Pricasso photo
Pricasso 38
Australian painter 1949

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Pricasso photo

“Pricasso, who has been painting with his penis for six years, said painting with his penis could be painful, but he had resorted to making his own non-toxic, washable paint.”

Pricasso (1949) Australian painter

[Daily News staff, Daily News, South Africa, Portraiture painful for penile artist, 24 August 2011, 2, Independent Online]
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Clifford D. Simak photo

“That had not been the first time nor had it been the last, but all the years of killing boiled down in essence to that single moment — not the time that came after, but that long and terrible instant when he had watched the lines of men purposefully striding up the slope to kill him.”

Clifford D. Simak book Way Station

Source: Way Station (1963), Ch. 25
Context: That had not been the first time nor had it been the last, but all the years of killing boiled down in essence to that single moment — not the time that came after, but that long and terrible instant when he had watched the lines of men purposefully striding up the slope to kill him.
It had been in that moment that he had realized the insanity of war, the futile gesture that in time became all but meaningless, the unreasoning rage that must be nursed long beyond the memory of the incident that had caused the rage, the sheer illogic that one man, by death or misery, might prove a right or uphold a principle.
Somewhere, he thought, on the long backtrack of history, the human race had accepted an insanity for a principle and had persisted in it until today that insanity-turned-principle stood ready to wipe out, if not the race itself, at least all of those things, both material and immaterial, that had been fashioned as symbols of humanity through many hard-won centuries.

Pricasso photo

“Pricasso can paint with either hand, but prefers using his nether regions. He has been painting this way for seven years and has painted ordinary people, celebrities and politicians.”

Pricasso (1949) Australian painter

[The Star staff, Pricasso's the name, painting the game, 28 September 2012, 3, The Star, South Africa, Independent Online]
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“He listened with the mild demeanour of a man who had waited eight years for his town council to draw up a specification for emergency repairs.”

Lindsey Davis book Shadows in Bronze

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Pricasso photo

“The annual Sexpo exhibition comes but once a year, and is not always memorable but this year one of our scouts discovered a truly unique talent at the show - a man who paints portraits with his, errm, manhood. Yes, Pricasso, as he calls himself, took Darling Harbour by storm last week.”

Pricasso (1949) Australian painter

[Annette Sharp, The Diary: Painting by members, The Sun-Herald, Sydney, Australia, 29 July 2007, 2, Fairfax Media Publications Pty Limited]
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“He did not know their songs, and only listened and was borne along on the music, until from up front there came sweeping back wave by wave down the great slow-moving river of people a tune he knew. He lifted his head high and sang it with them, in his own language as he had learned it: the Hymn of the Insurrection. It had been sung in these streets, in this same street, two hundred years ago, by these people, his people.”

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“If on some occasion I happen to read something in it — because, for instance, I neet to know a date — I am always disconcerted to find that two or five years ago I came to exactly the same conclusion, only to forget it because I had not succeded in living up to it; in fact, I had tenaciously been doing the very opposite.”

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“As far as I can remember, it was about 25 or 26 years ago that Breitner [his pupil then] painted with me in 'Huize Rozenburg' [The Hague]... There I had a large garden where he painted his dragoons with horses, posing there in front of him..”

Willem Maris (1844–1910) Dutch landscape painter of the Hague School (1844-1910)

version in original Dutch / citaat van Willem Maris, in het Nederlands: Voor zover ik me kan herinneren is het zoowat 5 of 26 jaar geleden, dat Breitner [zijn leerling toen] bij mij schilderde in den Huize Rozenburg.. .Ik had daar een grote tuin en daar schilderde hij zijn dragonders met paarden, die hij daar liet poseren..
Source: a letter of Willem Maris to Plasschaert 5 Jan. 1906, RKD Den Haag (translation from original Dutch, Fons Heijnsbroek, 2018)

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“José Clemente Orozco [became later a famous Mexican painter as well] and I would travel on the same trolley from Coyoacán to Mexico City, and I would carry his papers. We became pals, and I invited him to the house. I had painted four or five things when he visited, and he gave me a hug and said I had a lot of talent, and he chatted on about the horrors of Diego [Rivera]. There was beginning to be talk about Diego; that he had returned from Russia and was giving talks on on Russian theater and art. I would go to hear him. Afterwards, he began to paint at the Prepa. [Escuela Prepatoria] and later at the Secretaríade Educación. I was studying at the Prepa, but the [bus] accident [in 1925] messed me up.”

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Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', pp. 73-74

“I'd been painting rats for three years before someone said 'that's a clever anagram of art' and I had to pretend I'd known that all along.”

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Source: Wall and Piece (2005)

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