A Quote by KJ Apa

It's always strange to play a sex object; it's never a natural kind of feeling. — © KJ Apa
It's always strange to play a sex object; it's never a natural kind of feeling.
I've always seen process of crafting as part of the thinking process. It really forms the gestation of the work. I'll get an idea; I want to express this idea, sometimes I'll start it, but during the process of making the object - if it's an object or a painting - it changes. It never goes in a linear progression from A to Zed. It's always this kind of circuitous, stumbling, groping in the dark kind of process of evolving.
I still think that I'm dreaming. It's a strange feeling. I always try to watch the final of Grand Slams because that's where the best players are playing. ... I never expected to play a final. I never expected to win a Grand Slam. And right now I just did it.
Anyone who is observant, who discovers the person they have always dreamed of, knows that sexual energy comes into play before sex even takes place. The greatest pleasure isn't sex, but the passion with which it is practiced. When the passion is intense, then sex joins in to complete the dance, but it is never the principal aim.
I was never supposed to play in college, let alone the NBA, so I always feel like I have something to prove. No one ever expected me to be here, so that feeling of being an underdog is ingrained in me. It's a natural part of my consciousness.
They call it collective energy. It's that same feeling that you get when you meditate amongst a ton of people. What actually makes the festival feel so special is that while you're watching a band or an artist, you're standing there, kind of feeling the same feeling with so many people in such a small space and that gives you collective energy. It's that kind of strange feeling in which you almost feel people breathing.
I never really had the chance to play the kind of music I wanted to play. It was always just classical. It had its limits. I play piano now and again in the new forms of music that I actually want to play, but at the time, it was something that I just kind of moved past.
I was so empty. I didn't always feel physically bad. I was able to play, but I wasn't there 100%. I felt I was fighting this strange feeling rather than the opponent; I couldn't really describe what was going on.
I've come close to matching the feeling of that night in 1944 in music, when I first heard Diz and Bird, but I've never got there. . . . I'm always looking for it, listening and feeling for it, though, trying to always feel it in and through the music I play everyday.
I like the feeling of not knowing where to look when you are only performing for one person or watching someone practice. It creates this kind of a strange in-between, which can be mirrored in the feeling of making a painting.
It is important to realize that whatever we do or design has iconographic references, it comes from somewhere; any form is always metaphorical, never totally metaphysical; it is never a 'destiny' but always a fact with some kind of historical reference. To put an object on a base means to monumentalize it, to make everyone aware it exists.
If you have this deep feeling of empathy for the natural world, you feel it so profoundly. It's almost a religious experience. I feel that I could never really say the depth of feeling or connection I feel to the natural world, which has made me.
You can be a sex symbol through music or film. Hey, there are some politicians that are sex symbols. Is that something you should fight? No. Sex is very natural.
To me, the object of practicing is to allow you to play what you hear. But you're always hearing new things, so you never get to the end of it.
I never wanted to get a job of musician. That was kind of my thing. I came from somewhat of a musical family. I had an uncle on Broadway. My dad kind of knows how to play instruments. Although, I always find it annoying when he does play an instrument.
A life is such a strange object, at one moment translucent, at another utterly opaque, an object I make with my own hands, an object imposed on me, an object for which the world provides the raw material and then steals it from me again, pulverized by events, scattered, broken, scored yet retaining its unity; how heavy it is and how inconsistent: this contradiction breeds many misunderstandings.
The less a man is willing to give up a sex object, the more he'll be trapped into becoming a success object.
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