Landscape Quotes - Page 3

A trajectory of misery – at this point – seems intentional. We have all the information we need to see clearly. We are no longer unaware toddlers on the landscape of consciousness. It is no longer cute to crap ourselves.

I think I'm painting a picture of two women but it may turn out to be a landscape.

Works of art are landscapes of the mind.

I've always been interested, - if you look back at my work from the beginning, really - I've always been interested in the idea of the artificial landscape. Reforming the landscape. Architecture being a method of reforming the earth's surface. We reshape the earth's surface, from architecture to paving streets, to parking lots and buildings that are really reforming the surface of the earth. Reforming nature, taking over what we find. And we're mushing it around and remaking a new earth - or, what we used to call Terra Nova.

The truly monumental can only come about by means of the most exact and refined relation between parts. Since each thing carries both a meaning of its own and an associated meaning in relation to something else - its essential value is relative. We speak of the mood we experience when looking at a landscape. This mood results from the relation of certain things rather than from their separate actualities. This is because objects do not in themselves possess the total effect they give when interrelated.

I like big, open, spare landscapes. There's lots of room. Nobody bothers you... I feel as if I can think there.

While the river of life glides along smoothly, it remains the same river; only the landscape on either bank seems to change.

Memory is the fourth dimension to any landscape.

These landscapes of water and reflection have become an obsession.

Love makes you see a place differently, just as you hold differently an object that belongs to someone you love. If you know one landscape well, you will look at all other landscapes differently. And if you learn to love one place, sometimes you can also learn to love another.

We take a handful of sand from the endless landscape of awareness around us and call that handful of sand the world.

Silence was the cure, if only temporarily, silence and geography. But of what was I being cured? I do not know, have never known. I only know the cure. Silence, and no connections except to landscape.

I haven't yet managed to capture the colour of this landscape; there are moments when I'm appalled at the colours I'm having to use, I'm afraid what I'm doing is just dreadful and yet I really am understating it; the light is simply terrifying.

It's our landscape which defines our identity and it's what I'm most grateful for.

An Eskimo custom offers an angry person release by walking the emotion out of his or her system in a straight line across the landscape; the point at which the anger is conquered is marked with a stick, bearing witness to the strength or length of the rage.

There is an eternal landscape, a geography of the soul; we search for its outline all our lives.

Writing enlarges the landscape of the mind.

When you are with a landscape or a human being where there is no need to speak, but simply to listen, to perceive, to feel.

You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.

You can domesticate your body, but you can't domesticate your face - even by having a lift or having your nose bobbed. A face bears the reflection of our nature, which in the beginning is veiled by the attractiveness of youth. But as soon as youth begins to go, everything written on the face starts to come to the surface, and pretty soon it's engraved there. No landscape can equal a human face that's been molded by its own owner.

Once the storm comes out, the landscape changes. What you had before is altered in some way. And you have a choice: build something new and better from what is left or abandon it.

When you shoot on film, you don't know whether you've got it or not until you get the film processed, and so it changes the relationship we have with the subject whether it's a landscape or a person in a so-called controlled environment in a chair in a studio in front of you.

The landscape should belong to the people who see it all the time.

My current works are abstracts cunningly disguised as landscapes. It is the Canadian way.

The landscape you grow up in speaks to you in a way that nowhere else does.