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Fiona Rae - From the Audience category:
One of my terrors is boring people. (Fiona Rae)
Fiona Rae - From the Copying category:
- interview with Shirley Kaneda, 1994...
I think there's a distinction to be made between the appropriation which is a time-honored device used by artists where they borrow or steal from other cultures, genres, individuals, in order to enrich their own work and to make of the stolen goods something new and the appropriation which is a self-conscious reason for the entire existence of the work. I don't think I'm cynical when I appropriate forms. The nearest I come to that is when I see it as a useful ironic device. (Fiona Rae)
Fiona Rae - From the Interest category:
I think it's when you don't recognize something that it starts getting quite interesting. (Fiona Rae)
Fiona Rae - From the Intuition category:
- interview with Shirley Kaneda, 1994...
If it were intuition gone wild, it could be a nightmare. On the other hand, a purely analytical approach might be deadly dry. If such a thing could possibly exist. I mean, there's always a point where it has to have a form or presence and therefore invention of some kind, so in that sense intuitive decisions take place even in the driest part of the work. (Fiona Rae)
Fiona Rae - From the Language category:
- interview with Shirley Kaneda, 1994...
It may be... enlightening to imagine painting as a fluent language with new words and new uses of words engendered all the time. It's not necessarily quoting to imbue familiar phrases with new meanings. (Fiona Rae)
Fiona Rae - From the Meaning category:
- interview with Shirley Kaneda, 1994...
The paintings aren't supposed to be a checklist of eclectic quotations to be ticked off as recognized. I hope they have a singular presence which precedes any fragmentational reading. (Fiona Rae)
Fiona Rae - From the Opposites category:
There is a need to subvert my own taste and find the opposite to look at. (Fiona Rae)
Fiona Rae - From the Originality category:
- interview with Shirley Kaneda, 1994...
If one achieves something new it's always tested against something already known - this is how recognition works - therefore opening up new possibilities naturally entails finding the limits of what has gone before. (Fiona Rae)
Fiona Rae - From the Painting category:
- interview with Shirley Kaneda, 1994...
To crusade on behalf of painting sounds like a critic's job. Although, obviously, I have a critical position: I'm not picking up where the Abstract Expressionists left off as if nothing had happened in between. (Fiona Rae)
Fiona Rae - From the Strategy category:
- interview with Shirley Kaneda, 1994...
I might think I'm being very strategic, but in the end my intuition comes in and dictates which part of my strategy I'm going to follow in the painting. There's a point in the studio when I'm being intuitive, but maybe that intuition is being directed by my idea, strategy or process. (Fiona Rae)
Fiona Rae - From the Technique category:
- interview with Shirley Kaneda, 1994...
I never know quite how to draw distinctions between letting go and having control. It seems to me that one would only let go when one has control. Otherwise it's a mess. (Fiona Rae)
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