A Quote by Abbey Lee Kershaw

Let's just say, if I weren't a model, I'd be a walking collage. I see my body as a blank canvas that's aching to be decorated; I find it all very fascinating. — © Abbey Lee Kershaw
Let's just say, if I weren't a model, I'd be a walking collage. I see my body as a blank canvas that's aching to be decorated; I find it all very fascinating.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
Just dash something down if you see a blank canvas staring at you with a certain imbecility. You do not know how paralyzing it is, that staring of a blank canvas which says to the painter: you don't know anything.
Many painters are afraid of the blank canvas, but the blank canvas is afraid of the truly passionate painter who dares-and who has once broken the spell of 'you can't.'
I was blown away by being able to color. Then I started to draw... bringing a blank white canvas to life was fascinating.
Just slap something on it when you see a blank canvas staring at you with a sort of imbecility.
My face is almost like a canvas - a blank canvas in the sense that the hair on my face is very, very fine and my skin is incredibly fair and my hair is quite dark, and that's very unusual.
I find it very difficult to see the boundary between womenswear and menswear. It's bizarre the ways in which society reacts; they find it difficult to comprehend seeing parts of the body on a man. I think it's fascinating.
I love motion-capture, because you're just free. It's like when you're a little kid, and you say, "Okay, we're the army men. We're going over the mountain." Or, in this case, "We're walking through the swamp" or "Walking through the casino." And it's just a blank room.
Chase used to say, 'When you're looking at your canvas and worrying about it, try to think of your canvas as the reality and the model as the painted thing.'
After you die, your body is just there. Isn't it kind of embarrassing that your body is going to be there and you have no say or control over it? Somebody's going to have to deal with it. I've always respected people who kill themselves and find a way to get rid of the body. Very clean. Lost at sea. I can see why they do that. There's nothing left.
Here I am, the artist, the person, the black woman, and the stereotype. I'm using myself and it has nothing to do with my muses or other women. It has to do with me. You see parts of my body moving, very collage like, flashing, and not speaking, just laying on a couch, looking out at the viewer.
I find it quite fascinating to see how the body works.
... a canvas that I have covered is worth more than a blank canvas. My pretensions go no further; that is my right to paint, my reason for painting.
You wind up creating from silence, like painting a picture on a blank canvas that could bring tears to somebody's eyes. As songwriters, our blank canvas is silence. Then we write a song from an idea that can change somebody's life. Songwriting is the closest thing to magic that we could ever experience. That's why I love songwriting.
I had a C-section, and I found it fascinating. I didn't find it a sacrifice, and I didn't find it a painful experience. I found it a fascinating miracle of what a body can do.
It's a marvellous life, a gregarious life that we've had. We're very lucky in that way. Unlike writers or painters, we don't sit down in front of a blank canvas and say, 'How do I start? Where do I start?'
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