A Quote by Oliver Sacks
I have often seen quite demented patients recognize and respond vividly to paintings and delight in the act of painting at a time when they are scarcely responsive, disoriented, and out of it.
Related Quotes
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.
People look at film in a gallery, and if they walk out after two minutes they know they haven't seen the whole work. But then people look at a painting for two minutes and think they've seen it. Certain paintings are made to be consumed fast. But some require a slowed-down time. You have to go back to them.
I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall.
What counts is art. painting, a kind of painting that is quite different from what everyone makes it out to be. But what kind? Will God or someone else give me the strength to breathe the breath of prayer and mourning into my paintings, the breath of prayer for redemption and resurrection?
In the first speech I delivered as health secretary, I made one thing perfectly clear: we need a cultural shift in the NHS: from a culture responsive mainly to orders from the top down to one responsive to patients, in which patient safety is put first.
Painting is a solitary act for me; I don't need anyone around to make paintings.
Dearly departed, scarcely lamented, deeply demented.
I'm not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.
The vast amount of time it takes to make my paintings is very challenging. I have so many exciting ideas I would love to bring to a final painting, but my time-consuming technique limits the number of ideas that get to become a painting.
Small paintings can be fantastic. But you can't often get a narrative out of a small painting. In any case, museums are huge places, and you want to take up some space.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
A central notion in the Affordable Care Act was we had an inefficient system with a lot of waste that didn't also deliver the kind of quality that was needed that often put health care providers in a box where they wanted to do better for their patients, but financial incentives were skewed the other way... We don't need to reinvent the wheel; you're already figuring out what works to reduce infections in hospitals or help patients with complicated needs.
In the office, I actually act quite demented the whole day. Like Monty Python. That's my favorite kind of humor. My assistants sometimes ask me to leave.
I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.
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