A Quote by Alice Levine

I won a competition in primary school for my painting of Nottingham's Goose Fair; it was a riot of colour with glitter and sequins. — © Alice Levine
I won a competition in primary school for my painting of Nottingham's Goose Fair; it was a riot of colour with glitter and sequins.
I don't think people know me at all. At the end of the day, if you see me in sequins and glitter out at a club, you might think that's all there is. But, you know, it's just glitter. My friends who I've known since I was 17 - they know who I am.
Ah, lives of men! When prosperous they glitter - Like a fair picture; when misfortune comes - A wet sponge at one blow has blurred the painting.
I think why I am such a success in regards to my shows, is I don't give you an impression that my world's all rose tinted glasses, candy floss, sequins and glitter.
This new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour.
The thing about glitter is if you get it on you, be prepared to have it on you forever. Because glitter doesn't go away. Glitter is the herpes of craft supplies.
It is often said that the modern exhibition has ruined painting. It is an unfortunate fact that it does encourage competition, so that, to attract attention to his work, an artist is tempted to descend to sensationalism, whether it is expressed by strong colour, grotesque handling, unusual subject, or sheer size.
Unless there is free and fair competition, there can't be healthy economic development. And what we have in Burma now is not an open-market economy that allows free and fair competition, but a form of colonialism makes a few people very, very wealthy. It's what you would crony capitalism.
I know I earn less at my primary school than you do, but I don't have to work as hard at my primary school.
I say this as a young dad seeing children going into primary school: I don't think we should underestimate the formative effect on a child of those first years in primary school.
I never noticed competing with other generations. There's competition within your own generation, but that competition is good. Maybe you're annoyed that somebody's getting more money than you are, but what's really annoying is if someone's painting a better painting than you're making. So it's something to think about and work toward and stay focused on.
My parents decided - because they were not going to teach us anything Jewish at home - to send both me and my sister to a Jewish primary school. So I went to Kerem Primary School in Hampstead Garden Suburb. But, for me, that school really didn't work that well.
I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc.
My primary thing is to make a painting, not necessarily to make a painting to sell for gazillions of dollars, but just to make a painting.
I have never used a fairness cream in my life. I don't think being fair is in any way superior to any other colour. And when I started working, I found that being fair has actually backfired for me. I have lost a few films because I'm too fair.
Well, let's say we acknowledged the School of French Painting - the Paris School of painting as the leading force and vitality of the time. I think that was understood and felt and experienced.
I went to school here at the University of San Carlos for my primary and high school. I was valedictorian in grade school, and I was number one in high school, and because of that, I received free tuition in school. I thank the school for that.
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