Barbara Hepworth Quotes
Quotes to Explore
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I remember the first time I went to Italy when I was eighteen, I was in Florence and there were all these eighteen, nineteen, twenty-year-olds gliding past on Vespas with crinkly, long, hair, and I thought I was on the set of a movie. I couldn't believe that this was going on and I hadn't known about it before. I was flabbergasted.
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I think one's history and past is important at a certain time in your life, especially as an artist, just to try to hone in on that.
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I definitely feel more comfortable in my own skin since turning 40.
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I don't like to travel as much as I have in the past, but it's good for my soul to get to pick, especially with these good musicians and these guys that play so well.
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Don't see the point in reading ghost-written autobiographies, even though some of these published lives may fascinate me. The 'ghost' is always present, manipulating an interview into first-person singular text, and it feels like I'm reading a lie.
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Our present moment is a mystery that we are part of. Here and now is where all the wonder of life lies hidden. And make no mistake about it, to strive to live completely in the present is to strive for what already is the case.
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I have my own studio down in Miami.
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Don't take yourself too seriously. Know when to laugh at yourself, and find a way to laugh at obstacles that inevitably present themselves.
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Peace is its own reward.
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There's a physicality and confidence to Americans; they're very present. That's something I enjoy being around because it rubs off on you.
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I tend to resist invitations to interpret my own fiction.
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I like connecting the abstract to the concrete. There's a tension in that. I believe the reader or listener should be able to enter the poem as a participant. So I try to get past resolving poems.
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Elvis was just like a big old kid. It was like he never got past 19, I don't think, in a lotta ways.
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The ability to be in the present moment is a major component of mental wellness.
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The unrecorded past is none other than our old friend, the tree in the primeval forest which fell without being heard.
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We are a people trying not only to solve the problems of the present: unemployment, inflation... but we are attempting on a larger scale to fulfill the promise of America.
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I don't connect much with the present. I have more of an affinity for what came in the past.
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I think it's really the job of the composer, the artist, the painter, the writer to present people with options. I'm just really reflecting the thoughts and actions around me.
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Nowhere more than in New York does the contest between squalor and splendor so sharply present itself.
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Many political experts have told me that nobody will vote for me because America is not ready for such decisive and dynamic leadership. They tell me these things, and I say nay to the negative nincompoops who never nourished the nihilistic nerve to name a novice to nail down the nomination.
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I had creative control over my character, which means if they wanted me to do something that I didn't agree with, then I wouldn't do it. If it was good for the show, then I had no problem. If it was demeaning to the character and wasn't adding a positive light to the show, then I can guarantee that I wouldn't do it.
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Some people are averse to change, but the advertising model is going to change with or without the Hopper. What we're saying to the broadcasters is, 'There's a way for you not to put your head in the sand.'
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I'm not a drug person. I don't like drugs. I went to college in London, so it was kind of the curriculum there. I got it out of my system really young.
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My works are an imitation of my own past and present.
