A Quote by Lisette Model

It is the surface I am interested in. Because the surface is the inside. — © Lisette Model
It is the surface I am interested in. Because the surface is the inside.
You can't get at the thing itself, the real nature of the sitter, by stripping away the surface. You can only get beyond the surface by working with the surface. All that you can do is manipulate that surface - gesture, costume, expression - radically and correctly.
People don't understand that the feel of the surface is so important for a footballer. The ball travels on the surface; our feet move on the surface - all of that goes into how the game is actually played.
I would like to start by emphasizing the importance of surfaces. It is at a surface where many of our most interesting and useful phenomena occur. We live for example on the surface of a planet. It is at a surface where the catalysis of chemical reactions occur. It is essentially at a surface of a plant that sunlight is converted to a sugar. In electronics, most if not all active circuit elements involve non-equilibrium phenomena occurring at surfaces. Much of biology is concerned with reactions at a surface.
I think one thing with Sweden is that in some way the Swedish society is a very good society, almost perfect on the surface. That is something that makes the writers forced to see what is underneath the surface, because it's always something underneath the surface, of course.
I've always been interested, - if you look back at my work from the beginning, really - I've always been interested in the idea of the artificial landscape. Reforming the landscape. Architecture being a method of reforming the earth's surface. We reshape the earth's surface, from architecture to paving streets, to parking lots and buildings that are really reforming the surface of the earth. Reforming nature, taking over what we find. And we're mushing it around and remaking a new earth - or, what we used to call Terra Nova.
Unlike a pressed or blown-glass part, which traditionally has smooth internal surface features, a printed part can have complex surface features on the inside as well as the outside.
You have to get inside the people you are writing about. You have to go below the surface. And that's to a very large degree what all writers are doing - they're trying to get below the surface. Whether it's in fiction or poetry or writing history and biography. Some people make that possible because they write wonderful letters and diaries. And you have to sort of go where the material is.
Whenever we think of the body as a vessel for artistic ideas, we somehow always focus on the surface of the body. But the truth is that there is no surface of the body independent of its interior. It's obvious that the outside of the body is always connected to the inside, to thought processes and to an internal anatomy.
Two-thirds of earth's surface is ocean, and all we can see with the naked eye is the surface.
All art is at once surface and symbol. Those who go beneath the surface do so at their peril.
There's almost no gravity at the surface. If you were standing on [the surface], you could jump into orbit.
Clever people, people who are cunning, do not know what love is because their minds are so sharp, because they are so clever, because they are so superficial - which means to be on the surface, and love is not a thing that exists on the surface.
When people look only at the surface and that satisfies them and they think from that surface they see, that is to be truly blind.
The ocean is interacting with the surface. There is a possible biosphere that extends from way below the surface to just above the crust.
It's not unusual to find big political shifts that take place beneath the surface before they're visible above the surface.
Surface is a modernist concept. What surface does is to encourage one to see the painting as object rather than as a window on the world.
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