A Quote by Ruth Asawa

All my wire sculptures come from the same loop. And theres only one way to do it. The idea is to do it simply, and you end up with a shape. — © Ruth Asawa
All my wire sculptures come from the same loop. And theres only one way to do it. The idea is to do it simply, and you end up with a shape.
All my wire sculptures come from the same loop. And there's only one way to do it. The idea is to do it simply, and you end up with a shape.
With women, I've got a long bamboo pole with a leather loop on the end. I slip the loop around their necks so they can't get away or come too close. Like catching snakes.
The most important rule: Do not, I repeat, do not censor yourself in any way. Leave your editorial mind out of the loop. Just let the ideas come pouring out in any way, shape, or form they want to. Do not judge anything.
We all come into this world the same: naked, scared, and ignorant. After that grand entrance, the life we end up with is simply an accumulation of the choices we make.
If your parents only listen to jazz or folk, you're like one of those trees you see in botanic gardens that have wire frames on them - you grow into that shape, you follow it or you have to break away from it. But I didn't have influences to embrace or kick against - I also had no idea what anything was.
It would have been hard for Fat Charlie to say exactly when the accumulation of birds on the wire mesh moved from interesting to terrifying. It was somewhere in the first hundred or so, anyway. And it was in the way they didn't coo, or caw, or trill, or song. They simply landed on the wire, and they watched him.
The shape the words end up taking are themselves the meaning of the words, they are retrospectively what we meant to say. There's no way of knowing this until you register it in visible form. But the other side of this is that you do have some idea of where you are going.
The way Fatboy Slim layers motifs is the same as 18th-century baroque counterpoint. You have an idea, then you have an answer to the idea in another voice, then you have a counter idea accompanying the original idea, and you build up your texture like that. I'm really into Kruder and Dorfmeister at the moment, and they do the same thing.
I thought tamarinds were made to eat, but that was probably not the idea. I ate several, and it seemed to me that they were rather sour that year. They pursed up my lips, till they resembled the stem-end of a tomato, and I had to take my sustenance through a quill for twenty-four hours. They sharpened my teeth till I could have shaved with them, and gave them a 'wire edge' that I was afraid would stay; but a citizen said 'no, it will come off when the enamel does' - which was comforting, at any rate. I found, afterward, that only strangers eat tamarinds - but they only eat them once.
The way I was brought up in improv was that any idea you have is not as good as your partner's idea, so if I see someone else initiating at the same time I am, I just defer to them because I assume their idea is going be better. And hopefully, they're doing the same with me.
Words from the past: "It's a clever idea, Mr. Bell, but don't wire us, we'll wire you.
Wars never simply end, not for those in combat and not for the culture, and one way or another, they shape-shift from generation to generation.
I think of every double-decker loop as another loop towards my death. And that is why I've always thought of the double-decker loop as - each loop as a continuous and individualized search for perfection.
Sometimes you come up with an idea when you're going out for a job, and then when you actually get into dissecting the world, you end up changing your approach, just because that's the way art goes sometimes.
I do not wish to be misunderstood upon this subject of slavery in this country. I suppose it may long exist, and perhaps the best way for it to come to an end peaceably is for it to exist for a length of time. But I say that the spread and strengthening and perpetuation of it is an entirely different proposition. There we should in every way resist it as a wrong, treating it as a wrong, with the fixed idea that it must and will come to an end.
It's a strange thing, how you can love somebody, how you can be all eaten up inside with needing them--and they simply don't need you. That's all there is to it, and neither of you can do anything about it. And they'll be the same way with someone else, and someone else will be the same way about you and it goes on and on--this desperate need--and only once in a rare million do the same two people need each other.
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