A Quote by Ngaio Marsh
I acquired quite a lot of technical skill and got quite a long way with my painting, but I never felt I was doing what New Zealand was about with my paint.
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With abstract work, I never was quite sure what it was that felt right about the painting, but I did know that I responded to it and I liked whatever it was offering me. That's something that seems to happen as well when I'm writing, where maybe things that don't necessarily make a lot of logical sense are put together, and yet we struggle to make sense of these things somehow. I'm not quite sure why that is; it's something about human nature, I guess.
My painting technique has not changed that much over time, although perhaps I am painting tighter and with more detail, in spite of a desire to loosen up and paint more expressively. One thing that has changed is my daily routine. I used to paint quite late into the night. It was a time I felt the creative spirits most active. As I have aged, my circadian rhythm has changed. I like to paint early in the day when I can avoid falling into the soul-sucking email world. Early dawn feels very similar to late night.
I initially felt shy about doing painting because I wasn't a professional painter. I almost felt like I didn't deserve to paint. But I have gradually adopted a different kind of attitude about this.
The Vogels were quite strict in what they acquired. They never acquired a projection. They never acquired a sound piece. They were never big on photos that much, unless it was photos documenting something. They had some limitations into what they bought.
I used to think she was quite intelligent , in my stupidity. The reason I did was because she knew quite a lot about the theater and plays and literature and all that stuff. If somebody knows quite a lot about all those things, it takes you quite a while to find out whether they're really stupid or not.
With abstract work, I never was quite sure what it was that felt right about the painting, but I did know that I responded to it and I liked whatever it was offering me.
The first one was quite cheap, but that was expensive for us. For my folks to buy on the Never Never. It was quite, you know, a rare object to have and I gained quite a lot of status by having this.
I find it a lot with Australian and New Zealand comics, and people from that part of the world, we share quite a similar sense of humour I think.
I'm quite proud of growing up in New Zealand where, from quite early on in primary school, you're learning to count in Maori, Maori mythology and dances and colours and history, and I think that gives a child a really good grounding.
I cringe at backstory. Because it never quite explains or gets into some psychological thing that is never quite right and never quite the truth and who knows why someone is some way.
I was at an art museum with my parents, and was quite taken with a [Vincent] Van Gogh painting. I stood admiring the painting for some time, and then realized that in addition to feeling moved by the beauty of the painting, I felt a little jealous of the painter.
I'm doing quite a lot of painting on stones - little funny fish and animals.
I've been spending quite a bit of time in Canada, New Zealand, Australia, and the U.K. as Mint is expanding globally, and I'm personally doing much of the research and business deals to make them happen.
I've done quite a lot of improv work before, and I wanted to do this film ["The Invisible Woman"] because it felt like a different technique. We were very true to the lines, and there was something quite formal and almost theatrical about it.
We've got a thing called the 'tall puppy syndrome' in New Zealand, where if anyone is doing really well, it's quite common to try and bring them down - like, cut them down and say, 'You've been to the moon? So what? I mean, plenty of people have been to the moon.'
My family comes from New Zealand, but I'm a London girl. I was born and raised in London, but I've got the blood of a New Zealander, so I always kind of felt like I didn't belong - in a good way.
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