A Quote by David L. Wolper
Some psychiatrist told me I was interested in sculpture because I dealt in flat surfaces and needed something with dimension.
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I did something that I told people around me never to do, which was, pay a psychiatrist. Why pay a psychiatrist when you can just come to me? I can help you with something going on in your life; even if I know nothing about you, I can possibly help you. That's just me being cocky like I am.
When my agent told me that Chelsea were interested it was not something I even needed to think about.
I told my wife the truth. I told her I was seeing a psychiatrist. Then she told me the truth: that she was seeing a psychiatrist, two plumbers, and a bartender.
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.
To me it is no mystery that we can only photograph effectively what we are truly interested in or-maybe more importantly-are grappling with. Often unconsciously. Otherwise the photographs are merely about an idea or a concept-that stuff eventually falls flat for me-there must be something more, some emotional hook for it to really work for me.
Because it's one of those things I never expected in my lifetime," he told me. "Like a comet. Or world peace. I'm just used to you being single." For some reason, that bothered me. "What, you don't think any guy would ever be interested in me?" Actually," said Adrian, sounding remarkably serious, "I can imagine lots of guys being interested in you.
Last week I told my psychiatrist, 'I keep thinking about suicide', and he told me from now I have to pay in advance.
If you reduce sculpture to the flat plane of the photograph, you're passing on only a residue of your concerns... You're not only reducing the sculpture to a different scale for the purposes of consumption, but you're denying the real content of the work.
I decided early in graduate school that I needed to do something about my moods. It quickly came down to a choice between seeing a psychiatrist or buying a horse. Since almost everyone I knew was seeing a psychiatrist, and since I had an absolute belief that I should be able to handle my own problems, I naturally bought a horse.
I knew something was wrong; I was constantly tired, and I'd developed numbness on my left side. I'd also become paranoid that my boyfriend was cheating on me. I thought I was having a nervous breakdown. One psychiatrist told me I was bipolar.
I really don't have a theme when I start a sculpture. The rock guides me to the final sculpture. I think that is true for many creative sculpture artists.
I'm interested in acting roles that I want to do, that are meaningful to me in some way. I think, because my kids are still pretty young, if something is meaningful and it's a good little part that I could do or feel that I can have fun with, then I'm interested in it. I'd like to be able to do a TV show or something and really have a voice in it.
The orthodox view of colour experience assumes that, when we see a colour difference between two surfaces viewed side-by-side, this is because we have different responses to each of the two surfaces viewed singly. Since we can detect colour differences between something like ten million different surfaces, this implies that we are capable of ten million colour responses to surfaces viewed singly.
First of all I think of puppets as sculpture. They are sculpture that moves. You could label it any way you want, but for me it always starts in my mind as a sculpture.
Being an African filmmaker, Africa is what's important for me. If I were to shot a film in France or elsewhere it would only be because the story that was being told was something that concerned me, and that really called me or needed to be shown on the screen.
For writers: If you polish a book too much, it'll be flat and shiny and smooth--and not too interesting. It's the little pits and bumps and whatnot that show voice and make a book unique from all the other super shiny flat surfaces
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