A Quote by Henri Matisse

The whole arrangement of my picture is expressive. The place occupied by the figures or objects, the empty spaces around them, the proportions, everything plays a part.
Expression for me does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by my figures, the empty space around them, the proportions, everything has its share.
The spectacle of the sky overwhelms me. Im overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains - everything which is bare has always greatly impressed me.
I encourage people to play around, mix proportions, textures, seasons and prints, and to find what makes them feel their most comfortable and expressive.
The arrangement of the words matters, and the arrangement you want can be found in the picture in your mind. The picture dictates the arrangement. The picture dictates whether this will be a sentence with or without clauses, a sentence that ends hard or a dying-fall sentence, long or short, active or passive.
When the time came for me to work with larger spaces, I conceived them as gardens, not as sites with objects but as relationships to a whole.
They become liberated spaces that can be occupied. A rich indetermination gives them, by means of a semantic rarefaction, the function of articulating a second, poetic geography on top of the geography of the literal, forbidden or permitted meaning. They insinuate other routes into the functionalist and historical order of movement. Walking follows them: 'I fill this great empty space with a beautiful name.'
Few would look at a concrete highway system or an electrical grid and perceive agency in their static arrangement, spaces and urban arrangements are usually treated as collections of objects or volumes, not as actors. Yet the organization itself is active. It is doing something.
You end up exhausted and spent, but later, in retrospect, you realize what it all was for. The parts fall into place, and you can see the whole picture and finally understand the role each individual part plays. The dawn comes, the sky grows light, and the colors and shapes of the roofs of houses, which you could only glimpse vaguely before, come into focus.
The problem of architecture has always been the same throughout time. Its authentic quality is reached through its proportions, and the proportions cost nothing. In fact, most of them are proportions among things, not the things themselves. Art is almost always a question of proportions.
The whole material world. It doesn't actually exist. Matter is not material. It's made up of atoms that are moving at lightning speeds around huge empty spaces. So as you go beyond the appearance of molecules, you end up with a subatomic world, and if you go beyond that you end up with nothing. Nothing is the source of everything.
When buyers see the pride of ownership - when they come in, and they're impressed by how clean the place is - they can picture their kids playing on the floor. They can picture the family sitting around the table. When they can picture their own family in that space, instantly you grab them, and they'll pay more money, too.
In bad weather, I spent hours drawing action figures on paper, coloring them, backing them on cardboard, then cutting them out and creating whole stories around their lives.
Despite the digital age, there is a very large number of venues and spaces that are looking for plays, and many of them are looking for new plays.
My scripts are always filled with notes. I like to just analyze everything from the point of view of the whole picture, of the movie, my whole picture.
But if you do know what is taught by plants and weather, you are in on the gossip and can feel truly at home. The sum of a field's forces [become] what we call very loosely the 'spirit of the place.' To know the spirit of a place is to realize that you are a part of a part and that the whole is made or parts, each of which in a whole. You start with the part you are whole in.
And marking off time struck me as something like counting empty spaces—spaces you know can't ever be filled.
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