te midden van kleuren verwrongen doch schijnbaar leeftijdloos bevind ik mij schouder aan schouder met de tijd haar schaterlach weerkaatst tegen de muren van het eindeloze verstart de wijzers voor een ogenblik ongemerkt verbleekt wat eens was zo blijk...
The reason for this project comes from my childhood, that is clear to me. I did not have any toys. So, I played in the bricks of ruined buildings around me and with which I built houses.
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
I remember, as a young architect, people always talked about I. M. Pei's concrete. He had a particular specification no one else knew.
I make spaces that are calm rather than confrontational. I seek a certain kind of logic that allows you to move in space and perceive it as beautiful and rational. Clarity is a worthwhile quality.
I learned, too, how it was possible with the help of the picture and action to transform an apparently insignificant violin passage into an incident, and to lift a simple horn call into a thing of stupendous significance by means of scenic emphasis.
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.
You could never hide yourself in these places - in Mies's Farnsworth house, for example. That was a mistake of Modernism. People need places to hide from each other, too. You need everything.
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!
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 feel growing up in Mumbai is an advantage, as we grow up speaking so many languages that when we go abroad, it becomes easier to learn new languages.
I wish that only three residents of Tel Aviv could see what conditions on the West Bank are like. Living in such proximity, most Israelis have no idea about the adversity on the West Bank.
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.
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 ...
