A Quote by Mickalene Thomas
I don't think an artist should always know why they gravitate toward something or someone. You are just drawn to things, and that's OK.
Related Quotes
Love represents a lot of things. You can be in love with someone, you can be in love with something. You don't know why you love something so much, you just do. You gravitate towards it and then you figure it out later.
I think when you're a bigger star you get many good scripts sent to you, and you have to choose which one you're going to gravitate toward, but I just try to gravitate toward the best-written one that's been thrown my way after a lot of girls have passed on it.
I don't know if women gravitate toward me, or I gravitate toward them.
I tend to gravitate toward the "act two," or "act three," or "act four" stories - either things that are underreported, where we think we already know the common narrative, or things that are at the margins of an over-reported story, where we're all so focused in one direction that we're missing something crucial that's unfolding off to the side.
I think that what we should do is have short, clipped conversations on the telephone so someone can always get us, not talking about inane stuff and having someone trying to get you. I also think we've just got to be more sensitive toward other people and not call them at night if you know they've been working.
I'm not technical. When I listen to music, I gravitate more toward the sonic aspect of it. The technical stuff of it, I get bored with it. These long solos? OK, already. You know your scales, big deal. I know it, too, but I don't want to do that.
As an artist, you tend to gravitate to the opposite. I know, when I finish a song or an album, I'm interested in doing something completely new. It doesn't always happen, but that's the idea. My poor fans - I don't know if they love that or hate that.
I always gravitate toward the humor in something.
I was drawn to his aloofness, the way cats gravitate toward people who’d rather avoid them.
It's OK to burn a Bible, that's OK. OK to burn a flag, OK, that's all right. But just, you know, for heaven's sake, don't say anything that might offend someone of the Islamic religion.
I gravitate toward the larger worldview questions such as, Why are we here? What are we supposed to be doing? What does it mean to know another person? To love someone? Of course, those questions are sort of in the background as I'm playing with language in the foreground, but those are the informing questions.
There's always a temptation, I think, among some historical writers to shade things toward the modern point of view. You know, they won't show someone doing something that would have been perfectly normal for the time but that is considered reprehensible today.
Because fashion essentially is art, and as an artist and someone who is also a musician and an artist in regards to drawing and painting, anything I can do that expresses my feelings is something I'm really drawn to.
Cultural concepts are one of the most fascinating things about historical fiction. There's always a temptation, I think, among some historical writers to shade things toward the modern point of view. You know, they won't show someone doing something that would have been perfectly normal for the time but that is considered reprehensible today.
I don't think people have ever really been in touch with science. They're drawn to it, but they don't know why they're drawn to it. For example, you may be blown away by the structure of something, like a soccer ball or a geodesic dome, with its hexagonal shapes.
I was never drawn just into fashion. I was drawn into it because I am really interested in serving women and providing women with solutions, trying to figure out what we need and why we need that and why we wear stuff, how it makes us feel. That was always my starting point, you know.
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