A Quote by Chuck Close
Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
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One asana is strong, then again another is very soft and gentle. So you have this modulation from one asana to another, just as you have from one feeling to another. Then they all, of course, make you lighter, give you space. I feel that space is what I get and receive and like to have - space inside which makes more space for openness outside.
Sculpture occupies the same space as your body.
She couldn't steal herself back from Randa only to give herself away again - belong to another person, be answerable to another person, build her very being around another person.
Interfacing street sculpture in public space creates an installation environment that turns regular space into art space. Signs and people and everything around a street sculpture-they all become part of it. A two-dimensional work, being confined to surfaces, doesn't have as much of a capacity.
I think the beauty of the film industry is that if another person tries to become another person or act like another person or imitate another person, they don't really get too far. When that person starts to realize who they are and what they can bring to the table, they start to blossom and grow. With that, it's not so much me looking towards my predecessors who have paved the way in the industry - it's more getting inspired. I get little bits and pieces of what I can take from any and everybody.
On one hand, to be able to go from one direction in the sky to study such an object to another direction to study another object, and on the other hand to be able to maintain accurately the position in space.
The question I ask myself when adapting a book is how do I be true to the spirit and soul of the character? How would I describe this character in my medium? If you asked one person to do a painting of something and another to create a sculpture of it, you'll never ask, 'Why doesn't the painting look like the sculpture?'
As individual people, embedded in our daily lives, of course we're interested in what makes one person different from another. We've got to hire one person and not another, marry one person and not another.
Whether we live alone or with other people, few acknowledge the presence of another roommate. This roommate is named 'Things' and the space that 'Things' occupies is typically a lot larger than the space people have for themselves.
I'm always excited to create space for people to relate to one another.
When you go from one part of the Turkish community to another, it's like you're moving from one century to another. People look at each other in a strange way, as if looking at someone from another planet, rather than trying to understand and open space for them.
There are instances where you're in a space with someone who has been extraordinarily successful, and they don't necessarily connect with you as another person. You can be a prop for them to deliver their stuff, and you're just another element in the scene.
I'd almost say hope isn't what it used to be. It's very difficult today to be a teacher. I speak to children. And tell them, look, no matter what, you must have hope. You must. When I invoke Camus, who said when there is no hope, you must invent hope. . .hope is something that is not what God gives us. It's like peace. It's a gift that one can give to one another. Only another person can push me to despair. And only another person can push me to hope. Its my choice.
The New Testament is peppered with "one another" reminders. While Scripture says to love another, encourage one another, offer hospitality to one another, be kind to one another, many people are content tolerating one another, if not ignoring one another.
The peculiarity of sculpture is that it creates a three-dimensional object in space. Painting may strive to give on a two-dimensional plane, the illusion of space, but it is space itself as a perceived quantity that becomes the peculiar concern of the sculptor. We may say that for the painter space is a luxury; for the sculptor it is a necessity.
Language and written language are the only real way we have to see inside another person's thoughts and to know what makes another person human. Without writing, we just wouldn't have that kind of access.
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