I love people, and I love to be with people and to make music with people, but my natural state is to revert back to being by myself in my house, which is cool because that's where I practice and write and listen and study.
I'm passionately involved in life: I love its change, its color, its movement. To be alive, to be able to see, to walk, to have houses, music, paintings - it's all a miracle.
It's not just about turning up or down the heat, it's about the other experiences that come with turning up or down the heat - what are we doing about energy, what are we doing about your health and safety.
It's wonderful doing concerts in places like New York and London, but I feel a responsibility to also bring my work home, to bring world-class, classical music to Somerset.
In the end, they pardoned me and packed me off to a home for the shell-shocked. Shortly before the end of the war, I was discharged a second time, once again with the observation that I was subject to recall at any time.
A lot of my work is about equalizing things and kind of destroying any barrier between what's high and low, or what's deep or what's shallow, complex or simple. I hope I'm ever-changing.
Completeness? Happiness? These words don't come close to describing my emotions. There truly is nothing I can say to capture what motherhood means to me, particularly given my medical history.
Most people in the Western world grow up with the received wisdom that Mozart was a genius. But few people necessarily know why. More than anyone else, he captured this something which is the human condition, the fine line that we all constantly danc...
I surrendered to a world of my imagination, reenacting all those wonderful tales my father would read aloud to me. I became a very active reader, especially history and Shakespeare.
When I was in school, I conceptually didn't want black people to have context, to take it out of all that history. I wanted nothing to indicate where they are or what time it is, to place them anywhere.
As opposed to putting too much confidence in myself, or in an image or a scene or a set of brushes, I really want to allow the oil paint to perform, to show me the things that it wants to do, beyond my imagination.
To put down an ideogram of a table so that people will recognize it as a table is not the work of a painter, but to sense it for a moment as a magic carpet with a leg hanging down at each corner is the beginning of a painter's imagination.
Blinking is some way of tabulating - a kind of carriage return, click, or save to disk - that helps the process of 'Okay, now change the subject.' Every time you move your eyes, there's an interruption in the visual field - you go momentarily blind w...
Some people say my work is often depressing and pessimistic, with the emphasis on death, blood, overcrowding, strange beings and so on, but I don't really think it is.
I never was interested in being part of the fashion world - I just wanted to design shoes. I didn't even know 'Vogue' existed when I was growing up. 'Vogue,' what is that?'
I do quite like Gehry's Guggenheim. But where in Bilbao it's seen as an outgrowth of years of investment in urban design and engineering, in Britain it's seen as the catalyst for urban regeneration rather than the icing on the cake.
I'm completely taken and impressed by the planning authority of Singapore and its Urban Redevelopment Authority (URA). It's the most cutting-edge agency in the world. They have very effective guidelines for development, and they review design as it e...
I don't like the idea that the first preparation when you start to design your building has to put your label. I think this is not fair. It's not fair to the building or to the people, to the client, because every building tells a different story.
When you design a building, you start from a general philosophy, and you come down, and you start from detail and come up. Only the theoretical architect believes that you can make the concept and then sometime, somebody will come to build it.
Hip-hop and electronic music are so similar, in the fact that they're both very visceral, have so much bass; a lot of times, it's the same tempos. The culture and some of the sound design is different but a lot of times, it's the same stuff.
Some people said, 'Oh you're going to become a fine artist now and do exhibits and stuff.' But I have no desire to do that. I really like design and I'm going to stay with it.
