A Quote by Hima Das

Our village is very small, so I wasn't surprised when I heard some negative comments from my neighbours on my interest in sports. But nothing mattered, as I always knew what I was doing and why I was doing it.
Some boys accepted me, some didn't. And my family had comments made to them. Brazil is still a very macho society, and sports are mainly for boys, so people would say to them: 'What is this girl doing? Why is she always out there in the soccer games with the boys?'
I'm an artist living in a small, Scottish village. So one would expect to be treated with some sort of caution. And the village and the farmers have shown enormous tolerance of me and interest in what I do. I mean, they don't necessarily understand what I'm doing all the time. But they, you know, I think they respect what I do and that there is a connection between what they do with the land and what I do, you know, that we're both dependent on weather and respond to that.
I think people knew why I was doing what I was doing. They knew I wasn't part of an interest group. And, in a way, by attacking me, the Malaysian establishment identified me as someone who was principled and prepared to stand up to them.
We all sorely complain of the shortness of time, and yet have much more than we know what to do with. Our lives are either spent in doing nothing at all, or in doing nothing to the purpose, or in doing nothing that we ought to do. We are always complaining that our days are few, and acting as though there would be no end of them.
I am holed up in a small village where I am doing my own work and it feels great. I have a small gallery and not many people find me, but I am happy being left alone and doing what I love.
I sort of always had an inkling towards some kind of an art form. I grew up in a very small town, and I just figure-skated. My dad played hockey and I was surrounded by sports, but it wasn't quite doing it for me. I wasn't totally fulfilled, and I did a lot of skating.
around 1977 I became very ... negative, I began to do things unconsciously that I didn't understand, and they were very sabotagistic and I didn't know what I was doing. I was pissing everybody off, I was breaking my bridges. I was hostile to people, I was doing performances and insulting people there - I was doing whatever I could to destroy whatever world I had created ten years before, without knowing, really, why
You can never really ignore negative comments. There will always be some comments that will hurt you.
What interested me the most was that when I [traveled to Europe] I knew what Joseph Beuys was doing, he knew what I was doing, and we both, we just started to talk. How did I know what Daniel Buren was doing, and to an extent, he knew exactly what I was doing? How did everybody know? It's an interesting thing. I'm still fascinated by it because, why is it now, with the Internet and everything else, you get whole groups of artists who have chosen to be regional? They really are only with the people they went to school with.
In the 16th and 17th centuries, most people in Britain lived in small village communities. They knew all their neighbours. They dressed alike, and almost all were white. The vast majority belonged to the same religion and spoke much the same language.
Miss no single opportunity of making some small sacrifice, here by a smiling look, there by a kindly word; always doing the smallest right and doing it all for love.
I don't want to walk in the middle. I want people to read what I write and feel strongly about it. If, at some point, whatever I am doing is failing to elicit a response, whether it's very positive or very negative, then I am going to stop doing it.
We're just getting better at our trade, man. We know what we're doing, and the reason why is that we've spent 30 years doing it. There's nothing that can replace that.
Figure our what it is you don't do very well, and then don't do it. I'm not beating myself up about doing everything perfectly. The litmus test I always use for myself is: "Okay, if you won 20 million tomorrow in the lottery would you still being doing the same thing you are doing now with your life, Dough? The answer is "yes". I'm always very conscious of that.
My job is to show them clearly what they are doing, and what they are doing wrong on the pitch. To help them know why and understand why, even if you prepare and understand the plan, why you are doing always the same mistakes.
I've been really surprised about a lot of the negative comments about artisanal pencil sharpening. Like, it really rubs some people the wrong way.
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