Which writers or artists most influenced your work?

Originally asked

The Paris Review, to novelists and poets, The Art of Fiction

A durable Art of Fiction question asked through named literary influences and artistic models.

You answer as yourself. Nobody on FLAPSS answers as anybody else.

Recorded John Pawson said elsewhere, not written here
Well, I saw Mies van der Rohe and then I was introduced to Shiro Kuramata’s work and that brought me even further into this world. I’m interested in everything. I mean, Peter Zumthor is obviously very talented, he does interesting work — but I don’t study my contemporaries in architecture and design so much.

The Talks, published interview, 3 May 2023 source ↗

Others on this question

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Kiri Te Kanawa Opera singer
Yes, a major one, along with Sir Georg Solti. Because they’re both Hungarian, I used to call them the Hungarian mafia. He was always onto me. “Have you bring to Vera?” And then she’d say, “Georg, he won’t be liking this bit.” And between the two of them, there was this whish-whish-whish, like sword fighting, and I was being killed by the both of them. But I enjoyed every minute of it. It was good for me.
Recorded Academy of Achievement interview, The Metropolitan Opera House, New York City, 9 April 2008 source ↗
Adam Gopnik Staff writer at The New Yorker; essayist
Well, it certainly influences my manner of writing, because I always see Darwin as a model of the act of explanation and of argument; the morality, the ethics of explanation, maybe.
Recorded On Being, interviewed by Krista Tippett, 21 December 2017 source ↗
David Lynch Film director, screenwriter and painter
I don’t know if that is true. There have been 110 or more years of cinema, and it’s impossible for any one of us to make a film that can’t be compared to something that has come before. To me Blue Velvet is Blue Velvet and Rear Window is Rear Window. You could say that Sunset Boulevard or Rear Window has conjured an idea for me, but even though I love them or am inspired by them, life is a 24/7 movie. Ideas come out of that all the time. It’s hard to say it’s cinema that conjures ideas. It’s altogether.
Recorded The Talks, published interview, 15 October 2014 source ↗
Linus C. Pauling, Ph.D. Chemist; winner of the 1954 Nobel Prize in Chemistry and the 1962 Nobel Peace Prize
One was Roscoe Gilkey Dickinson. He had got his doctorate in physical chemistry — x-ray crystallography — in 1920. He was the first person to get a Ph.D. from California Institute of Technology. And he was continuing with x-ray crystallography, determining the structure of inorganic crystals. After I had accepted appointment as a graduate student at California Institute of Technology, A.A. Noyes, the head of the division of chemistry and chemical engineering, wrote to say that he had decided I should work with Roscoe Dickinson on determining the structure of crystals. This was really extremely fortunate for me, in my opinion. I don’t think that there was any field that was more suited to my interests, and I don’t really know why Dr. Noyes selected me out of eight or ten new graduate students to do x-ray crystallography. Dickinson had a remarkable mind. He was a very careful investigator and thinker, a very logical thinker. When he was teaching me x-ray crystallography, he also taught me to ask at each stage in the argument, “What assumptions are being made? How reliable is the conclusion that you draw? What chance is there that one of the assumptions you have made is not correct?” “You should recognize,” he said to me, “that there is in almost every investigation a lack of complete rigor. You should understand just how reliable the arguments are that you are presenting.
Recorded Academy of Achievement interview, Big Sur, California, 11 November 1990 source ↗

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