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Quote by Christian Madsen

“I met Harrison Ford when I was at Comic Con. I didn't know what to say. He was standing behind these two bodyguards - I think he was going up next for Ender's Game - and I had just come off the panel. I saw him sitting over there and I couldn't believe it, so I just walked over to him. He looked right at me and said, "Are you Michael Madsen's son? You look a lot like your dad. You've got a great look, man. I think you're going to have a good future." I just couldn't believe he said that, and then he walked right onto the panel.”

Quote by Christian Madsen

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Christian Madsen

Christian Madsen is a film actor, with limited information available about his life and career. more

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“I've been playing piano my whole life but I'd never tried to understand how compositions are made really. Try to imagine if you'd loved paintings your whole life but had never painted one. My aspiration now is just to understand. I don't have professional pretensions. I've learned so much. So many things I've been doing in the visual, two-dimensional painting world parallel many of the inner working of music - how intervals resolve into each other, harmonic rhythm, tonal things - there's a whole vocabulary that overlaps. Sometimes people see pianos in my works - that I never think.”

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“People see so many things in the paintings. Although I never think of them, it charms me a little bit that people actually project actual scenarios on to the paintings. Hopefully that means that they have a little bit of life to them. Figuring out the rhythm, the structural element has been the key thing in this work, more than the color element. It really was the variety of different widths that lead to a certain movement, a rhythm. Otherwise I'd fall into anything that was too stripy or almost like bar codes, and it thwarted the natural flow of the painting.”

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“My forms are not abstractions of things in the real world. They're also not symbols. I would say that my job is to invent these forms and to put them together in a way that keeps your interest, to give the forms a quirky identity so you can engage with them, so you realize there's an inner intelligence or logic. If you stop asking what they mean, or what they remind you of, and just look at them for 29 seconds, you find that they want to explain themselves and show you how much every tiniest detail is related to the whole.”

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“Everyone accepts the abstraction of Bach. My work aspires to the same kind of abstraction, which is so engaging that you're distracted from asking about what it means. So many paintings have hidden meanings or need wall texts, but my work is not in that category. Once it's in the viewer's eyes my job will be judged on whether or not it is engaging and pulls you in to a kind of intelligence or poetic something going on there that makes it sustainable to look at.”

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“For me becoming a painter was an Everest, in terms of what I thought a painter was. There are many roads to becoming an artist. For me it wasn't art school. I didn't have that go to art school and then get a gallery. It's more like, how deep is your inner library to cull from. It's certainly not about technical prowess, just about depth of investigation. It takes time. I had 15 years of painting under my belt before my first New York show. I was glad to have that. It's a good thing to spend your twenties getting your craft.”

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“I really am convinced that what is happening in media today is the result of the birth of conservative media and its rapid growth and ascension. It has destroyed the left's monopoly in media. When they had the monopoly, they could pretend that they were not what they are and get away with it. They could pretend to be objective. You know, the power of a monopoly is not just determining what stories you are going to cover, but what you don't cover is just as powerful.”

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