Quotes of All Topics . Occasions . Authors
The art of mastering life is the prerequisite for all further forms of expression, whether they are paintings, sculptures, tragedies, or musical compositions.
Cars are the sculptures of our everyday lives.
Many of my sculptures take a long time to make.
I am deeply moved by sculptures of powerful women.
Art is an expression of who you are. Parts that I play are my sculptures.
I'm showing some of my sculptures in Holland in the spring, so we'll see.
My sculptures cause an uproar, astonishment, and put a smile on your face.
Drawings, paintings, and sculptures. That's the three pillars of art academia.
They don't send people from large corporations to hire people to make sculptures.
I do a lot of work that's permanent. The drawings, the sculptures, they're permanent.
Clothes are unique sculptures, dependent on a supporting human form and created to move.
If you look at sculptures from hundreds of years ago, everyone's naked. It's not a bad thing.
They are more beautiful than anything in the world, kinetic sculptures, perfect form in motion.
That is the effect of my sculptures in the public domain: people are making contact with each other again.
I hate all those celebrity sculptures like Tussauds, where everyone is dressed in spangly suits and they are all smiling.
I never sold any of my pieces. I had all the money I wanted. Then I would have lost my sculptures and just had more money.
I made all sorts of things: drawings, sculptures - I was doing origami before I even knew the word. I was constantly creating.
In the time between records, I always have lots of stuff going on. I shoot photography, make little sculptures, play video games.
Shape and color are my two strong things. And by doing this, drawing plants has always led me into my paintings and my sculptures.
I learned about Chinese ceramics and African sculptures, I aired my scanty knowledge of the French Impressionists, and I prospered.
I really don't consider Kim Kardashian sexy. She's like one of those primordial sculptures of fertility, like the Venus of Willendorf.
I love my sculptures, and I was lucky I had them for 50 years because no one would look at them, and I really liked having them around.
All my wire sculptures come from the same loop. And there's only one way to do it. The idea is to do it simply, and you end up with a shape.
I have been taking every step toward the future every day through making many paintings and sculptures with my deep emotion hidden in my life.
I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.
I went to a quite macho art school in the 1970s, and while everyone was making hulking big sculptures, I was making things out of bits of paper.
My ideas come, wh-pheww. And I draw. Just recently, when I'm searching for ideas for paintings and sculptures, I wait for ideas, and it's always visual.
My great-grandparents have some beautiful sculptures which have come down the generations. They are priceless and whenever I look at them, I am inspired.
My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings.
People always say that my work is sensational or shocking but there are truly shocking things you could do, and my sculptures don't go anywhere near that.
Choose paintings, sculptures, realistic or abstract or animal images woven into fabrics, rather than a faux zebra rug or a sullied Lion's head on the wall.
Don't look for obscure formulas or mystery in my work. It is pure joy that I offer you. Look at my sculptures until you see them. Those closest to God have seen them.
My interest in art must have started with my Catholic upbringing. Art was everywhere: churches with its paintings, sculptures, stained glass, textiles, and fine metalwork.
I'm putting my consciousness towards trying to teach people through pictures and sculptures that there's something better in the world. That's what the world needs more of.
Even though the museums guarding their precious property fence everything off, in my own studio, I made them so you and I could walk in and around, and among these sculptures.
I want people to get inspired by public space - their space. People tend to forget about it because they do the daily thing, but putting up these sculptures breaks the routine.
I would like to go to Kalimantan island in Sumatra to see the carvings and longhouse sculptures. I've also always wanted to look at the wood carvings along the Sepik River in New Guinea.
I've been making bronze sculptures for a long time. My sculptures are wholly unsuccessful and uncommercial. No one is even the remotest bit interested in them. So it's almost like my hobby.
I am finally getting the chance to build large structures and break preconceptions that my designs are just sculptures for people to be in. But my work always comes down to the human scale.
I went to Goldsmith College of Art in London in the '80s and there I made sculptures, but the objects had nothing to do with how I was thinking. I was making beautifully sanded wooden boxes!
I do everything. Of course, I have 50 people who work for me to do the drudgery of mold making and all the foundry. This is an enormous task. But every stroke in these sculptures is from my hands.
We used to make patterns in the dirt, hanging our feet off the horse-drawn farm equipment. We made endless hourglass figures that I now see as the forms within forms in my crocheted wire sculptures.
All the sculptures of today, like those of the past, will end one day in pieces... So it is important to fashion ones work carefully in its smallest recess and charge every particle of matter with life.
I bought two sculptures of two baboons called Lord and Lady Muck on an antique piece of furniture from an art exhibition, and it was quite expensive. It was very expensive, actually - way too expensive.
I just feel like, unfortunately, I'm a person that has to be creative to live. Whether that's, like, painting or making sculptures or writing songs, sometimes I just feel like that's the only thing you can do.
Sculptures created from found materials like ice and thorns, driftwood, and even bleached kangaroo bones all presuppose that artistic design will yield to the cycles of time and climate, whether over an hour or a decade.
Nobody complains that Bernini's sculptures are too darn real, right? Or that Norman Rockwell's paintings are too creepy. Well, robots can seem real and be loved, too. We're trying to make a new art medium out of robotics.
The size thing is not some gimmick or attention-getting trick but a genuine undercurrent of the work. Frank Gehry for instance likes to imagine his buildings as sculptures. I like to imagine my sculptures as architectural.
In New York, I get a tremendous amount of ideas by looking at the paintings and the sculptures, adapting artistic endeavors to crafts. There is a lot of inspiration around us that we can see every day and turn into projects.
We say to the British government: you have kept those sculptures for almost two centuries. You have cared for them as well as you could, for which we thank you. But now in the name of fairness and morality, please give them back.
