A Quote by Dawn Angelique

Color has always evoked emotion for me: visually, internally, emotionally. — © Dawn Angelique
Color has always evoked emotion for me: visually, internally, emotionally.

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For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go.
The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula for that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.
I think I work much the same way I always have. I'm trying to interpret something emotionally visually. I'm reading the brief or article, or listening to the music, and deciding where that sends me, and what would it look like.
I've always felt that color is intrinsically personal. It evokes a tremendous amount of emotion. If there's a color you respond to, that's something you can incorporate into your home. No one can tell you it's wrong.
My songwriting process is based on a formula: Color, tone, words. When I hear production, I initially identify the color that resonates with me. From there, I am able to translate the color into tone or emotion, which may depend on a number of things.
There is a question whether faith can or is supposed to be emotionally satisfying. I must say that the thought of everyone lolling about in an emotionally satisfying faith is repugnant to me. I believe that we are ultimately directed Godward but that this journey is often impeded by emotion
When you're on set and you professionally listen to what the other actors have to say, then the emotion is naturally evoked.
Half of my family has a deep-rooted connection to the South and Louisiana, and for me, New Orleans is one of our most precious, historic communities: visually, emotionally, artistically.
Opera tells stories through the pure emotion of music. An exhibition has to tell a story purely visually. I've tried to incorporate both of those things - pure emotion and being more visual - into my writing.
Emotion-enabled wearable glasses can help individuals who are visually impaired read the faces of others, and it can help individuals on the autism spectrum interpret emotion, something that they really struggle with.
The whole world, as we experience it visually, comes to us through the mystic realm of color. Our entire being is nourished by it. This mystic quality of color should likewise find expression in a work of art.
As a professional wrestler in the position I am in, I would rather have people remember my matches for an emotion or for a certain thought it evoked when they saw it.
Emotion will always win over coolness and cleverness. It's when a scene works emotionally and it's cool and clever, then it's great. That's what you want.
That's very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.
Perfect love is to feeling what perfect white is to color. Many think that white is the absence of color. It is not. It is the inclusion of all color. White is every other color that exists, combined. So, too, is love not the absence of an emotion (hatred, anger, lust, jealousy, covetousness), but the summation of all feeling. It is the sum total. The aggregate amount. The everything.
I never used to see anything on TV where the man was in the weaker position. It was always the female showing emotion, breaking down, being emotionally torn apart by men.
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