I couldn't wait until I grew up. I used to look at my mom's stockings and put them on with her high heels and mess with my hair.
My grandfather was an illegal immigrant for the 60 or so years he was in the United States. I had another great-great-grandmother on my mom's side who snuck in in a suitcase.
In fact, my mom always told me because I was the daughter of an Army officer born overseas in Paris, France, that under the Constitution she believed that I could never run for president.
At first I could not believe what I was reading. I got up from my seat and walked away, talking to myself that I may have found my mom.
I've been fifty thousand times to the Louvre. I have copied everything in drawing, trying to understand.
That's the terrible thing: the more one works on a picture, the more impossible it becomes to finish it.
A snowball is simple, direct and familiar to most of us. I use this simplicity as a container for feelings and ideas that function on many levels.
I'm interested in ways that digital interfaces can be utilized as powerful narrative devices, and to engage people in new and exciting ways.
The possibilities for creation and insight are endless. We're constantly collecting more data, and it's starting to be very relevant to our lives.
I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade.
I believe in empty spaces; they're the most wonderful thing.
I am against the idea of the end, that everything culminates in paradise or judgment.
We are the only state that does not have a State Film Corporation there to support the commercial industry.
Being an artist means forever healing your own wounds and at the same time endlessly exposing them.
For me, it is OK as long as I can breathe, as long as my heart is pumping, as long as I can express myself.
If it [talent] isn’t strong enough to take the gaff of real training, then it’s not worth much.
To emphasize only the beautiful seems to me to be like a mathematical system that only concerns itself with positive numbers.
You come to nature with all her theories, and she knocks them all flat.
It's not that the creative act and the critical act are simultaneous. It's more like you blurt something out and then analyze it.
The dance world is too small in lots of ways - it's too intense, it rattles around itself, and it needs exposing to other ideas.
It is better to be high-spirited even though one makes more mistakes, than to be narrow-minded and all too prudent.
