A Quote by James Nares
It's a fine balance between design and the thing making itself happen. The stroke has to have complete precision to work. Sometimes I lose it on the exit. You can't fudge it. It ruins the whole thing.” The resulting figures are almost always contained within the rectangle. “It's less of a window if I keep it within the confines of the canvas, but there's almost always a drip that's an umbilical cord.
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The problem I've always discovered in my own work when this kind of thing happens when you hit the wall is there's almost always a reason. You've almost always made a mistake in the initial conception of the project. You misapprehended something or you thought something would work and now you're three quarters on the way through and you see that it doesn't work.
For me, places are articulations of 'natural' and social relations, relations that are not fully contained within the place itself. So, first, places are not closed or bounded - which, politically, lays the ground for critiques of exclusivity. Second, places are not 'given' - they are always in open-ended process. They are in that sense 'events'. Third, they and their identity will always be contested (we could almost talk about local-level struggles for hegemony).
Almost always, executive orders are within an authority and always within the purview of Congress to change if they want to legislatively change it.
A career path is rarely a path at all. A more interesting life is usual a more crooked, winding path of missteps, luck and vigorous work. It is almost always a clumsy balance between the things you try to make happen and the things that happen to you.
I was born dead. Yeah, the umbilical cord was like, floppy baby, the whole thing. Yeah, it was bad.
It is a sad thing to want for happiness, but it is a terrible thing to see another groping about blindly for it, when it is almost within the grasp.
The resulting prints of 'History's Shadow' make the invisible visible and express through photographic means the shape-shifting nature of time itself and the continuous presence of the past contained within us.
Cezanne produced precarious little worlds that almost, almost, almost lose their balance but somehow hold themselves together, creating tension, beauty and danger all at once.
In one way an oil boom is a mighty bad thing, because it gets into your blood and almost becomes an obsession. Booms are filled with excitement, adventure, and drama, but sometimes the exit from the scene must be made between suns on a pair of mighty weary feet.
Nowadays, the process of growth and development almost never seems to manage to create this subtle balance between the importance of the individual parts, and the coherence of the environment as a whole. One or the other always dominates.
Sometimes the way to do what you hope to do will be clear cut, and sometimes it will be almost impossible to decide whether or not you are doing the correct thing, because you'll have to balance your goals and hopes with feeding yourself, paying debts, finding work, settling for what you can get.
Choosing work is an interesting thing. It's a balance between what's available and what you've always got in the back of your mind - that awful, strange thing that seems to have to exist in this industry, of what will give you "exposure."
But you finally think, there is what there is, and you have to work within those confines and just keep chipping away at your own work.
Faced with the opportunity to become the category of one, we almost always hesitate, almost always compromise, almost always dumb it down to play it a little bit safer
The best thing to do is muddle through and maybe, over time, create a solution of that, if someone really wanted to exit, the legal basis on which you could exit. Because right now there almost doesn't exist one.
It's almost impossible to read a fine thing without wanting to do a fine thing.
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