A Quote by Judy Dater

Portraits I've done in the past I've always thought were a reflection of me. — © Judy Dater
Portraits I've done in the past I've always thought were a reflection of me.
I felt that the beach portraits were all self-portraits. That moment of unease, that attempt to find a pose, it was all about me.
Little things in my past that I really thought were over and done with were still elements of the puzzle that weren't pieced together, and so she helped me do that.
I thought I would draw or paint or be an architect. I was always drawing portraits. My mom put me in art classes in the summer.
I thought, 'Well, I'll amuse people a little bit.' During lunch hour, while everyone was off to the faculty club and this and that, I set up a bunch of bases down the hallway of the school and I put all of the portraits I had completed... and I waited for the reaction.... that's how I got started again, doing portraits of people around me.
I always thought it was a trap to fit into ideologies, and maybe that's a luxury position, but my work is a reflection of my being here. My being here is not a reflection of an idea.
In the past there were too many portraits of Chairman Mao in China. They were hung everywhere. That was not proper and it didn't really show respect for Chairman Mao.
That it would always be summer and autumn, and you always courting me, and always thinking as much of me as you have done through the past summertime!
My reflection in the mirror shows me pink and puffy. I thought pregnant women were to supposed to glow. I am not glowing.
Rappers have always thought they were better than me. And the media has always thought that I was not relevant to hip-hop, so therefore, they didn't have to mention me.
In the past, I think I was scared of showing myself. I thought people disliked me because I received so much hate when I was young. But as I grew older, I realized that there were people who disliked me and people who liked me. So I learned that there was no need for me to be so conscious of what others thought about me.
Much of what passes for quality on British television is no more than a reflection of the narrow elite which controls it and has always thought that its tastes were synonymous with quality.
Our cover has always been really important. For those of you who haven’t seen itCharles Burns, who is a graphic artist, does four portraits, so it’s split into quadrants and there’s four heads, basically—portraits of people. We’ve actually often thought and freaked out, what if something happened to Charles Burns? Because he’s so identified with the cover of our magazine, I don’t know what we would do if anything happened to Charles Burns.
I always thought, I can't waste time, I have to do work. I also thought that I was slower than other people, that I had to concentrate more. I always thought, I'm not brilliant, I have to work. That was something I embedded in myself very early: I have to go home and write. But did I get any more work done than people like Frank O'Hara, who were always going to parties? Probably not.
When I was first exposed to the films of Ingmar Bergman, I found them frank and disturbing portraits of the world we live in, but that was not something that displeased me. They were beautiful. I thought people would respond to my plays the way I responded to Bergman's films.
I am preparing myself to leave football. I have always thought that once you get past 30, it is time to reflect on when you should go, and that is what I have done.
Every film that is made about the past is always a reflection of the present.
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