A Quote by Ken Danby

As an artist, my concern is toward the synthesizing of all the visual elements at my disposal - at the exclusion of none. — © Ken Danby
As an artist, my concern is toward the synthesizing of all the visual elements at my disposal - at the exclusion of none.
This is one of the things I don't like so much about French cinema - we have tendency to concentrate on actors and dialogue and we don't care so much about the visual aspect. I love when you use all the elements at your disposal.
Every artist who evolves a style does so from illusive elements that inhabit his or her visual storehouse.
I'd just sort of gravitated toward the arts, and I had always loved music and really loved theater, even though I didn't want to act. For some reason, being in Kansas, you can either be a graphic artist or a visual artist, so I decided, 'I guess I'm going to be a painter.'
The literary artist lends verbal depth to the visual. The visual artist provides visible articulation for the literary.
With the exception of autotrophic bacteria, the green, or chlorophyll-bearing, plants are the only living forms on this planet capable of synthesizing organic matter out of inorganic elements and simple compounds.
Unlike a lot of choreographers, I don't always start with the music. I often start with a visual artist, and then find music that fits the world of that visual artist.
If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
I think that if someone told me I could have been a visual artist, I might have been a visual artist instead. And if I'd known I could have done art history, I would have done that. But I just didn't know.
The here, the now, and the individual, have always been the special concern of the saint, the artist, the poet, and - from time immemorial - the woman. In the small circle of the home she has never quite forgotten the particular uniqueness of each member of the family; the spontaneity of now; the vividness of here. This is the basic substance of life. These are the individual elements that form the bigger entities like mass, future, world. We may neglect these elements, but we cannot dispense with them. They are the drops that make up the stream. They are the essence of life itself.
I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.
I'm a really visual artist, and I love writing treatments for music videos, photo shoots, fashion, and all the visual parts that go along with making an album.
Natural gas obviously brings with it a number of quality-of-life environmental benefits because it is a relatively clean-burning fuel. It has a CO2 footprint, but it has no particulates. It has none of the other emissions elements that are of concern to public health that other forms of power-generation fuels do have: coal, fuel oil, others.
I think that that's the way the music grows and changes and becomes new and creative and vital. It's by synthesizing elements from all around it and not to maintain this kind of rigid myopic kind of tunnel vision, in a sense, trying to maintain a certain kind of purity, or whatever.
There's always a certain concern whenever you go and shoot a field piece: that maybe all the elements won't come together, knowing that you have limited time to tell a story, hoping that you get all the elements you need, hoping the subjects are comfortable.
I was a painter before I was a writer, so I was always a visual artist. And my writing, to me, was always visual.
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