i finally got t this place were it feel right were i knew i belong were i didn't give crap maybe is not the right place but i feel save
Twitter was like a poem. It was rich, real and spontaneous. It really fit my style. In a year and a half, I tweeted 60,000 tweets, over 100,000 words. I spent a minimum eight hours a day on it, sometimes 24 hours.
I sometimes wake in the early morning & listen to the soft breathing of my child & I think to myself, this is one thing I will never regret & I carry that quiet with me all day long.
I don't really like coffee, she said, but I don't really like it when my head hits my desk when I fall asleep either.
A few said they'd be horses. Most said they'd be some sort of cat. My friend said she'd like to come back as a porcupine. I don't like crowds, she said.
What we do now is to be valued - but we need to do more, so that it's more exciting to other people, and therefore that excitement shines back on us and we're able to have the energy to do more, to widen our creativity.
On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.
I always have a lot of things going on because some things take years to make and others take five minutes. I like that there's always something going on. Working doesn't have such a momentous feel - like it's all or nothing.
Fortunately for me, I know well enough what I want, and am basically utterly indifferent to the criticism that I work to hurriedly. In answer to that, I have done some things even more hurriedly theses last few days.
It gives a fellow an awful shiver to hear the first shovelful of dirt and gravel rattle down upon the coffin; but after it is covered, it falls gently and makes no sound. The feeling of rest is perfect. There's no more nagging, no more pain!
I think it's the responsibility of a major opera house not only to cultivate debate and get people thinking, but also to be interfaced with things that challenge them. To challenge its audience and not just deliver things that they know, even though ...
The painting develops before my eyes, unfolding its surprises as it progresses. It is this which gives me the sense of complete liberty, and for this reason I am incapable of forming a plan or making a sketch beforehand.
I've tried doing so, for it was never my intention to paint only with gray. But in the course of my work I have eliminated one color after another, and what has remained is gray, gray, gray!
When a man returned from the field and we'd look at the work, we'd criticize each other very genuinely and never offensively. And we would avoid all tricks, angle shots were just horrible to us.
Close your bodily eye, that you may see your picture first with the eye of the spirit. Then bring to light what you have seen in the darkness, that its effect may work back, from without to within.
If you really want to be an artist, you search yourself, and you find a lot of it comes from earlier times. I have pretty much built the work around my experiences. When I've moved from one place to another, the work has changed.
When you stop doing something, it doesn't mean you are rejecting the previous work. That's the mistake; it's not rejecting it, it's saying, 'I have exploited it enough now and I wish to take a look at another corner.'
Building is just skilled labor, I suppose. It's a lot of work. I don't mind other people building them, but the way things go together and are made is interesting to me; I like that a lot.
My work is on the one hand laboured, and on the other completely happenstance and intuitive. But that's the swish in the work, I think. It's really important to me that the work isn't just sitting on top of something, that the materials are woven tog...
A painting of a person can be descriptive, but for me it's about all the things that make up a picture - the feelings, the brushstrokes - more than describing somebody. People latch on to the personalities when they talk about my work and forget the ...
On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.
