„We live in a world of opposites, of extreme evil and violence opposed to goodness and peace. It’s that way here for a reason but we have a hard time grasping what the reason is. In struggling to understand the reason, we learn about balance and there’s a mysterious door right at that balance point. We can go through that door anytime we get it together.” —David Lynch
“I used to go to well-lit diners, because in a well-lit diner I could sit and think and daydream and I could go to dark places knowing that I could surface in a well-lit, safe place.”
“The only way to find the new is to start different things and see if there’s something that can come out of experimentation.”
David Lynch (°1946) first trained as a painter, and although he is now better known as a filmmaker, he has continued to paint. Lynch has stated that „all my paintings are organic, violent comedies. They have to be violently done and primitive and crude, and to achieve that I try to let nature paint more than I paint.“ Many of his works are very dark in colour, and Lynch has said this is because “I wouldn’t know what to do with colour. Colour to me is too real. It’s limiting. It doesn’t allow too much of a dream. The more you throw black into a colour, the more dreamy it gets … Black has depth. It’s like a little egress; you can go into it, and because it keeps on continuing to be dark, the mind kicks in, and a lot of things that are going on in there become manifest. And you start seeing what you’re afraid of. You start seeing what you love, and it becomes like a dream.”
Many of his works also contain letters and words added to the painting. He explains:
“The words in the paintings are sometimes important to make you start thinking about what else is going on in there. And a lot of times, the words excite me as shapes, and something’ll grow out of that. I used to cut these little letters out and glue them on. They just look good all lined up like teeth … sometimes they become the title of the painting.”
Lynch was the subject of a major art retrospective at the Fondation Cartier, Paris from March 3 – May 27, 2007. The show was titled The Air is on Fire and included numerous paintings, photographs, drawings, alternative films and sound work. New site-specific art installations were created specially for the exhibition. A series of events accompanied the exhibition including live performances and concerts.