I am trying to present objects in the simplest way possible, and I don't want to supply too much context. Michael Craig-Martin More Quotes by Michael Craig-Martin More Quotes From Michael Craig-Martin At the Summer Exhibition, I didn't really change anything; it's the same exhibition. All I changed is the presentation. I didn't really change the rules. Michael Craig-Martin exhibitions changed summer I think that the exchange is very important. Before I did the exhibition in Shanghai, I was a judge for the John Moores Painting Prize and that was very interesting for me, because some of the judges are Chinese and some are British, and we look at the work together. It was fascinating that most of the time we were in complete agreement, but some of the time we were not. People send their works from all over China. For a foreigner, this gave me a very good picture about what is happening in China and its art today. Michael Craig-Martin agreement art thinking [I] don't want people to see it [paintings] as a specific intention on my part. If somebody has that interest in these objects, of course they can see that, but from my own point of view, I'd rather stay as neutral as possible. Michael Craig-Martin views want people The Royal Academy Summer Exhibition is very difficult to hang because it is so large and the quality is very varied. There are 1,200 works, an almost impossible number, some are interesting and some are not. Michael Craig-Martin summer numbers interesting Usually when I go to the Summer Exhibition, I think every room is too much the same, and I loose my capacity to look at individual works. Michael Craig-Martin exhibitions summer thinking When I was teaching I often said to students that you are trying to be too creative, don't be too creative, because there is so much already in what you are making, you don't need to do very much. You just need to do a little bit, and that is a lot. Michael Craig-Martin creative teaching trying When I look at the objects that I draw, it seems to me so obvious about the contemporary world - these are our world. Michael Craig-Martin obvious our-world looks In the studio, it took me a long time to work out how to make paintings that had the intensity that I was able to create by painting whole rooms. There is a very limited number of colours but there are many variations. I decided to use the purest palette that I could. Michael Craig-Martin work-out numbers long I look at the character of the exhibition and I treat it as I would a painting or an installation. When I did the Summer Exhibition at Royal Academy, I did it exactly as I would when making a new work. Michael Craig-Martin exhibitions summer character I had been doing wall drawings, but they were always black and white. Then in 1993 I painted all the walls of a room to make an installation and as soon as I saw the colour on the walls, it changed my whole life. Michael Craig-Martin wall drawing black-and-white Sometimes we look at a work of art and we immediately think that it is German art, but with some we don't, it's not so obvious. Michael Craig-Martin looks art thinking It's important for me to give each thing the possibility to speak and also to allow artworks speak to each other. Michael Craig-Martin important speak giving I would never put a sculpture in front of a painting, so that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work. Michael Craig-Martin individual-work sculpture focus I've taken away everything I could think of, and yet what remains is enough. These days many more people come to my work, and once they see my work they will always recognize it. Michael Craig-Martin taken people thinking
