A Quote by Georgia O'Keeffe
I had to create an equivalent for what I felt about what I was looking at - not copy it.
Related Quotes
I long ago came to the conclusion that even if I could put down accurately the thing I saw and enjoyed, it would not give the observer the kind of feeling it gave me. I had to create an equivalent for what I felt about what I was looking at-not copy it.
There are no forms in nature. Nature is a vast, chaotic collection of shapes. You as an artist create configurations out of chaos. You make a formal statement where there was none to begin with. All art is a combination of an external event and an internal event… I make a photograph to give you the equivalent of what I felt. Equivalent is still the best word.
Start copying what you love. Copy copy copy copy. At the end of the copy you will find your self.
I'd always rather stand or fall on my own mistakes. There's nothing worse than looking back, in a published book, at a line edit or a copy edit that you felt queasy about and didn't want to take, but took anyway.
If your entire conception of what's possible in fantasy only comes from other fantasy books, you're going to go on to create a copy of a copy of a copy. There's nothing original there, nothing dynamic. Which is fine if that's your goal, but I've always wanted to do something no one else was doing before.
It would have been the equivalent of Jackson Pollock's attempts to copy the Sistine Chapel.
Tommy had felt alone in a crowd before, even inferior to everyone in a crowd, but now he felt, well, different. It wasn't just the clothes and the make up, it was the humanity. He wasn't part of it. Heightened senses or not, he felt like he had his nose pressed against the window, looking in. The problem was, it was the window of a donut shop.
I felt that everyone had the same sentiments when it came to love that I did. I felt like if you really cared for somebody, then that was it. It never occurred to me that people could lie about the way they felt about you. I had to learn that the hard way.
I was headed for the fantastic lights. No doubt about it. Could it be that I was being deceived? Not likely. I don't think I had enough imagination to be deceived; had no false hope, either. I'd come from a long ways off and had started from a long ways down. But now destiny was about to manifest itself. I felt like it was looking right at me and nobody else.
To convey in the print the feeling you experienced when you exposed your film – to walk out of the darkroom and say: ‘This is it, the equivalent of what I saw and felt!’. That’s what it’s all about.
Every time I copy something, I can draw it for the rest of my life. But research is so painful - I mean just opening up a magazine looking for a picture of a car or looking out the window looking for a car is just hard!
After about 1940, scientists generally stopped looking for elements in nature. Instead, they had to create them by smashing smaller atoms together.
My room is dominated by the huge painting, which is a copy of 'The Violation' by the Belgian surrealist Paul Delvaux. The original was destroyed during the Blitz in 1940, and I commissioned an artist I know, Brigid Marlin, to make a copy from a photograph. I never stop looking at this painting and its mysterious and beautiful women.
I'm looking back to a period of my life when I was badly hurt and then looking at another time when I felt I had things going for me again, so I suppose there is a theme [of the Faith album].
People will try to copy what they can see, which is the final product or service, but it's much harder to see (and copy) all the intricacies of the business model that allows you to create, capture, and deliver value. And that's what you need to get right to really jam something down people's throats!
My grandmother had a Ph.D in library science, so I grew up in a library, and I would appreciate those books and the smell of them and how they'd have these series, and it was cool to me. I always felt like, if I had an opportunity, I'd create an album that felt like a series.
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