A Quote by Richard Phillips
I have the utmost admiration for makeup artists. It's truly magical what they can accomplish with their materials. The face and the body are really their canvas.
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Technically, a makeup artist's canvas is the face and body. The difference is that my painting of makeup is integrated into the painting of the flesh and not on top of it. I think in some ways it is more difficult to expressively deploy makeup.
Food is exacting. The face is truly a canvas upon which our food choices paint an accurate picture. The body is truly a sculpture, chiseled and polished by our food choices.
There are makeup artists sometimes that have a jade face roller. If you're really tired those are really good.
I think probably, the makeup artists don't really know how long it's going to take until they really work with your face and they kind of mold it and build it as they're going along.
The name 'con artist' really does capture it. They're artists, and I have admiration for all artists.
Having been through a tremendous amount of emotional pain, to process it properly, to be able to have it make sense and then move it through your body, your mind, your spirit, and be done with it, you really have to address it head-on. Being able to really have the courage enough to truly face it, to truly look at it, to truly feel it.
I didn't start wearing makeup until I was in art school, and many of the techniques I learned on canvas, I applied to makeup.
Perfect isn't normal, nor is it interesting. I have no features without makeup. I am pale. I have blond lashes. You could just paint my face - it's like a blank canvas. It can be great for what I do.
I'll use this Midnight Recovery Oil on my face under makeup to get this really dewy look, and then on my body, I like really rich moisturizers. The one I use is Kiehl's Creme de Corps just because it's so thick and lasts.
I grew up learning from numerous makeup artists how to put on makeup, different ways you can put on makeup, what type of makeup to use, what type of makeup not to use.
I wash and moisturize my face in the morning and at night. If I have a show, I may even wash before and after the show. I never go to sleep with makeup on my face. At the minimum, I'm at least going to use makeup wipes to take my makeup off.
There's only one passion in most artists more violent than their desire for admiration: their fear of identifying the nature of such admiration as they do receive.
The challenge of yoga is to go beyond our limits - within reason. We continually expand the frame of the mind by using the canvas of the body. It is as if you were to stretch a canvas more and create a larger surface for a painting. But we must respect the present form of our body. If you pull too much at once, we will rip the canvas. If the practice of today damages the practice of tomorrow, it is not correct practice.
I'm still so young, so I feel like people have wanted to keep me in a 'no-makeup' fresh type of look - sometimes artists are a little afraid of really putting the makeup on me.
One of the most important elements of Caio-ness I wanted to keep was that left to right reading, where one form draws you... this movement in what is otherwise a fairly still art, that sense of pulling the eye. It involves a sense of time. To me that's esoteric and magical and playful, and if a painting doesn't have that, to me it's just canvas and paint. If it does have that, then it rises above its materials.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
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