A Quote by Isabel Allende

Photographs deceive time, freezing it on a piece of cardboard where the soul is silent. — © Isabel Allende
Photographs deceive time, freezing it on a piece of cardboard where the soul is silent.
It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. ... All photographs are memento mori. To take photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt
I used to cut guitars out of a piece of cardboard to copy the Strat look. I used a backwards tennis racket for a while and graduated to the cardboard cutout.
To take a photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt.
I say no to photographs. When people take my picture, I feel like they've taken a piece of me, and I can't get that back. It's soul-draining.
I think that one of the visions that is closest to reality is the cardboard city in the subway station in Tokyo, which is based very closely on a series of documentary photographs of people living like that and of the contents of the boxes. Those are quite haunting because Tokyo homeless people reiterate the whole nature of living in Tokyo in these cardboard boxes, they're only slightly smaller than Tokyo apartments, and they have almost as many consumer goods. It's a nightmare of boxes within boxes.
Photography is about freezing a moment in time; McGinley's is about freezing a stage in a lifetime.
I don't consider [my] photographs fashion photographs. The photographs were for fashion, but at the same time they had an ulterior motive, something more to do with the world in general.
In 1916, when Johnny Heartfield and I invented photomontage in my studio at the south end of the town at five o'clock one May morning, we had no idea of the immense possibilities, or of the thorny but successful career, that awaited the new invention. On a piece of cardboard we pasted a mishmash of advertisements for hernia belts, student song books and dog food, labels from schnaps and wine bottles, and photographs from picture papers, cut up at will in such a way as to say, in pictures, what would have been banned by the censors if we had said it in words.
I usually start by doing one or more color studies of the subject on a piece of canvas taped to cardboard.
Do certain events in our lives leave a permanent mark, freezing a piece of us in time, and that becomes a touchstone that we measure the rest of our lives against?
We must distinguish between speaking to deceive and being silent to be reserved.
If you deceive me once shame on you because I have trusted you once and you have deceived me, if you deceive me twice shame on me because I have learnt my lessons and you have deceive me and if you deceive me for the third time shame on me because am a compound fool.
The ostensible subject of my photographs may be motion, but the subtext is time. A dancer's movements illustrate the passage of time, giving it a substance, materiality, and space. In my photographs, time is stopped, a split second becomes an eternity, and an ephemeral moment is solid as sculpture.
I began to realize that photographs, these still images, have a tremendous power to move your soul. They can change your life by what you choose to get out of them, and I started to collect photographs.
I carry a knife with me so I can cut images out of cardboard boxes. I'm always cutting cardboard. Especially every Thursday, which is recycling day.
Women should look like women. A piece of cardboard has no sexuality.
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