A Quote by Charles McCarry
China, hidden and mysterious, has always interested me.
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China was not at all what I expected it to be. I had an image of China as a very quaint and mysterious and peaceful place. Well, it's quaint and mysterious in some respects, but not in the ways I had thought. The people are mysterious. They don't often tell you what they feel.
The truth is not a bidimensional thing; it's not flat. It's rounded; it's like a sphere, so there's always a hidden face. There's one that is revealed because there's light reflecting on it, but there's always a hidden one, and once you go around to see the hidden one, it moves, and that's life.
My mother is an immigrant from China, and she filled my head with stories about ghosts and fighting monks in China, so the world of 'Crouching Tiger, Hidden Dragon' was a very familiar one.
I will do a lot of research and create a lot of material for use in one painting. And then I go on discovering and working with a whole other range of material in another painting. I'm interested in a fairly comprehensive and orchestrated synthesis that might bring about a new situation consisting of this hidden material. I'm interested in hidden source material.
You American people worry too much about the China economy. Every time you think China is a problem, we get better, but when you have a high expectation for China, China is always a problem.
My father has always been interested in discarding the past. He's never much liked China or the whole idea behind China or Chinese ways of thinking. He's always been much more attracted to American ways of thinking. He feels Americans are more open - they tell you what they think - and he's very much that way himself.
It seems to me in a general sense we as a society are enamored with the mystical, mysterious, the unseen & unknown. We are looking for the hidden teaching, the secret scroll or fountain of youth, and of course heaven and hell.
Dance can reveal everything mysterious that is hidden in music
Perhaps they were looking for passion; perhaps they delved into this book as into a mysterious parcel - a gift box at the bottom of which, hidden in layers of rustling tissue paper, lay something they'd always longed for but couldn't ever grasp.
I've been interested in China ever since I was a kid. When I was a kid, I grew up in San Francisco about a mile from China Beach.
There is not a single country in the world that is not interested in doing business with China. And no one is seriously concerned about human rights. But Africans are criticized for wanting to do business with China.
I wished for eternal and intriguing muteness. I would be the Mysterious Dumb Girl, the Enigmatic Elf. The human voice no longer interested me.
I'm not particularly interested in painting, per se. I'm interested in a painting that has that mysterious life to it. Anything that doesn't partake of that magic is halfway dead - it returns to its physical elements, it's just paint and canvas.
You taste of the cool water that hides deep in a stream. You taste of the night air, soft and scented and mysterious. The taste of you drives me wild. I want to be with you, be inside you, shout to the world that you are mine at the same time I want to keep you hidden where you will exist only for me. You make me feel invincible, little bird.
What I've always been most interested in is exposing the way stories and fantasies reconstitute our everyday reality. What appears to be non-fiction is not only totally mysterious, unfathomable, and strange when you really look at what it is.
There are no demands - undue demands... There are many questions we get? Why China? Why now and the answer is why not?... There is no any hidden agenda in our cooperation with China, it is a relationship based on mutual understanding and equality; they understand our situation.
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