A Quote by David Shields

I'm not interested in collage as the refuge of the composition-ally disabled. I'm interested in collage as (to be honest) an evolution beyond narrative. — © David Shields
I'm not interested in collage as the refuge of the composition-ally disabled. I'm interested in collage as (to be honest) an evolution beyond narrative.
Collage is not a kitchen sink; it's not a refuge for the compositionally disabled.
The photo collage is a way to travel that must be used with skill and precision if we are to arrive... The collage as a flexible hieroglyph language of juxtaposition: A collage makes a statement.
In my twenties and early thirties, I wrote three novels, but beginning in my late thirties, I wearied of the mechanics of fiction writing, got interested in collage nonfiction, and have been writing literary collage ever since.
I'm very fond of this phrase: 'Collage is not a refuge for the compositionally disabled.' If you put together the pieces in a really powerful way, I think you'll let a thousand discrepancies bloom.
Television is becoming a collage - there are so many channels that you move through them making a collage yourself. In that sense, everyone sees something a bit different.
I think there were some programs but in those days art programs were kind of basic. You would do drawing and simple collage type work. But at home I was beginning to get interested in doing my own thing as well. I'm not sure what inspired this, but I became very interested in decorating things.
When I became tired of oil painting at one stage, I used collage and this proved to be influential in the design and composition of my later works.
Collage is more than just an art style. Collage is all about bringing different elements together. Once you form a sensibility about connection, how different elements relate to each other, you deepen your understanding of yourself and others.
For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.
I'm not interested in being perfect when im older. Im interested in having a narrative. It's the narrative that's really the most beautiful thing about women.
God is not interested in what you think you should be or feel. He is not interested in the narrative you have construct for yourself, or that others have construct for you. He may even use suffering to deconstruct that narrative.
Not all Peter Greenaway's stuff is sequential, narrative story. Some of it is like an art installation and I'm not particularly interested in being in an art installation to be honest. I'm interested in the story.
I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story.
God is not interested in what you think you should be or feel. He is not interested in the narrative you construct for yourself, or that others construct for you. Rather, He is interested in you, the you who suffers, the you who inflicts suffering on others, the you who hides, the you who has bad days (and good ones). And He meets you where you are.
I was never that interested in business, to be honest. I do the minimal amount of business as possible because I'm not actually interested in it as a thing. But some people are interested in it, and there's nothing wrong with that.
The left hemisphere is very interested in language; it communicates in words, it has a past, a present, and a future; it has a time component and it's all about details. The right hemisphere is more about the right now-right here experience where everything is an enormous collage of all the sensory systems flooding into our brains.
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