A Quote by Trisha Yearwood
If you're a painter, you don't go, 'Abstract's really selling, so that's what I'm going to do.' If you're really truly an artist, you have to think what you're meant to paint.
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From the age of six I wanted to be an artist. At that point I meant a painter, but it turned out what I really meant was I was someone who was very interested in watching the world and making copies of it.
I paint like an abstract painter everything is inside nothing is meant to be, I take tattoos off a people I take anything that's not necessarily going to be timeless. I want to get across what I feel and I just use the figure because I enjoy the figure.
I thought, enough of this, I'm not an abstract painter, what the hell am I going to do? Should I get a job in a shoe store, sell real estate, or what? I was really depressed by the whole thing, because I felt like a painter, yet I couldn't make paintings.
I think I’ve always believed that there is one person in the universe who you’re truly meant for–for whom you are truly meant–and the fact that sometimes there are two or even more people on the earth you can fall in love with really bothers me. It suggests that if you work hard you can be meant for anyone.
If I were a painter, I would paint beautiful bodies - I would paint nipples, and I would paint Bibles. Am I going to say, 'I'm not going to paint this woman's neck because people will think I just want to lick on necks?' Please! That's not what art is about.
I think the business of music has really taken a huge hit. There's no doubt about it. But an artist is always going to produce their art, their music. They're going to paint, they're going to write.
I think it's really the job of the composer, the artist, the painter, the writer to present people with options. I'm just really reflecting the thoughts and actions around me.
Paint records the most delicate gesture and the most tense. It tells whether the painter sat or stood or crouched in front of the canvas. Paint is a cast made of the painter's movements, a portrait of the painter's body and thoughts.
I'm an abstract painter not just for myself, but because I really believe in abstraction.
A great painter can paint something really complex, but they can crystallize it into something really simple.
I'd just sort of gravitated toward the arts, and I had always loved music and really loved theater, even though I didn't want to act. For some reason, being in Kansas, you can either be a graphic artist or a visual artist, so I decided, 'I guess I'm going to be a painter.'
Any magazine-cover hack can splash paint around wildly and call it a nightmare, or a witches sabbath or a portrait of the devil; but only a great painter can make such a thing really scare or ring true. That's because only a real artist knows the anatomy of the terrible, or the physiology of fear.
Directing is really exciting. In the end, it's more fun to be the painter than the paint.
When I was three or four, I was really good at drawing and painting, and everyone used to say, "You're going to go to art college." I didn't really know what that meant.
I do voiceovers, but being on-camera and selling something? I wasn't really interested. And then I thought, well, wait a minute. Everybody's selling something. When you turn on the tube... And then if you go to Europe or Asia, everyone is selling something. All the guys that don't want to be seen selling something here are selling something there. So I thought what the hell?
The fact that Edward Snowden didn't approach the New York Times hurt a lot. It meant two things. Morally, it meant that somebody with a big story to tell didn't think we were the place to go, and that's painful. And then it also meant that we got beaten on what was arguably the biggest national security story in many, many years. Not only beaten by the Guardian, because he went to the Guardian, but beaten by the Post, because he went to a writer from the Post. We tried to catch up and did some really good stories that I feel good about. But it was really, really, really painful.
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