A Quote by Taiye Selasi
As a young woman, I had been seeking experience, knowledge, truth, the stuff writers need in their work, but when the artist actually kicked in, I came to understand that in this romantic relationship I was not free to be myself, or to find myself, in order to begin the true work I needed to do.
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I spent a month in India and where I learnt an important word for me, for everything that had come before and after, and the was the word 'seva' - the work you do without wanting reward, simply for the work itself, for the spiritual, for the practice and the experience it gives you by doing that work. I began to realise it was something I was searching for all my life, that I was doing theatre not for myself but for something for a search, for a seeking for something that is behind that, to find a truth somewhere about us.
The reason why I do not know anything about myself, the reason why Siddhartha has remained alien and unknown to myself is due to one thing, to one single thing--I was afraid of myself, I was fleeing from myself. I was seeking Atman, I was seeking Brahman, I was determined to dismember myself and tear away its layers of husk in order to find in its unknown innermost recess the kernel at the heart of those layers, the Atman, life, the divine principle, the ultimate. But in so doing, I was losing myself.
I don't do my best work while I'm in therapy. I'm too onto myself immediately seeing meanings in things and more likely to censor myself. I'd rather find images I don't understand. That's what generates the work.
All the work I do is personal, so the good stuff and the bad stuff that you see in there is all good stuff and bad stuff that I have, and part of the journey, for me, has been to embrace these things that I find embarrassing about myself: my stubbornness, my ego, my maudlin-ness - these things that I see myself do, and I go, 'Oh, David, stop that!'
It's actually true that I keep myself going by constantly promising myself that in response for the hard work I will be allowed to do some more hard work later on.
I haven't had a cramp since '99. That was my only time, in Davis Cup, when I was panicky. I was young. I'm very proud of that. Never pulled out. Never had cramps. Never lost very much because of fitness, especially later on in my career where I knew I've put in the hard work. I've done that. I've been very fortunate and clever as well to understand how I need to work, when I need to work. So I'm very happy to have stayed injury free for so long. I hope I can still maintain a few good years on the tour. I really hope so.
Different things work for different people. One thing I've realized, though, is that the work that I've done on myself outside of my work as an actress has really allowed me to open up my mind. I think I understand my emotional state and my complexities now in a much clearer way, and I can put them to rest in a way that there's almost a catharsis that happens through the work, where I can do it and then find myself again.
I never had any intention nor interest in being an artist, but when I made work I realized that this was my language. What I had to say needed to be said in this way. I always loved taking photographs - but never considered myself a photographer. I have tremendous respect for photographers. I do use a camera and a photo as a basis for a lot of my work, but I use it as a means to attain an image to work from. The actual photography in my work is a monochromatic photograph. I'll photograph something and extract a color that will then be the background for a painting.
Every day I try to do some small thing connected to writing. Or I'll station myself at a café and try to hold myself captive with chocolate. I find that writers tend to be dismissive of small amounts of work or time, but they can actually add up. I've written several books in 15 minute increments.
How should an artist begin to do his work as an artist? I would insist that he begin his work as an artist by setting out to make a work of art.
As a black woman, I've always had to work hard to earn my respect as a musician - and as a young woman, too. As a writer, in certain sessions or certain rooms people think, 'Who's kid is this? Who's this little girl?' I've had to prove myself.
…but all day long I would be training myself to think, to understand, to criticize, to know myself; I was seeking for the absolute truth: this preoccupation did not exactly encourage polite conversation.
I've been so grateful for writing, and writers and, actually I would say that that is the cornerstone of my career, the writing. That's the truth of the work that I've done in theatre and it's definitely the case for the work that I've been lucky enough to do on screen.
I must be wanting to be President. Every young man does. But I won't let myself think of it; I must not, because if I do, I will begin to work for it; I'll be careful, calculating, cautious in word and act, and so - I'll beat myself.
After my divorce, I took some time off from having a romantic life to begin the tough work of figuring out where I'd gone wrong and what on Earth I could do to understand how to be a whole person in a relationship.
The artist knows he must be alone to create; the writer, to work out his thoughts; the musician, to compose; the saint, to pray. But women need solitude in order to find again the true essence of themselves.
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