Pain Quotes - Page 216

I have a predilection for painting that lends joyousness to a wall.

If you have a guy like Jermaine, it's a pain in the neck. When we were on the road together in Europe, Jesus, I had to kick the girls off of him. I mean, they throw themselves on the floor and take off their hats.

Things that happen, however painful they are at the time, do not matter very much for long. Only how we behave to them matters.

The secret to living in the rush of the world with a minimum of pain is to get as many people as possible to string along with your delusions.

I'm not interested in painting; I'm not interested in making a picture. Then what the hell am I interested in? I must be interested in this process.

There is something mysterious in this work that I do not ever what to discover.

The statement "I am in pain" may be one piece of evidence for the conclusion that the speaker is in pain, but it is not the only possible evidence, and since people sometimes tell lies, not even the best possible evidence. Even if there were stronger grounds for refusing to attribute pain to those who do not have language, the consequences of this refusal might lead us to reject the conclusion. Human infants and young children are unable to use language. Are we to deny that a year-old child can suffer?

What is bad painting? Picabia made some deliberately bad paintings, but they were by him, so great in a way.

It's still an escape for me, painting, so it also takes me elsewhere. I don't think I would do it otherwise.

Nostalgia is something we think of as fuzzy. But it's pain. Pain concerning the past.

I wanted to find a cave and hang out there for the rest of my life and be a cave painter and eat dirt.

Senseless is the breast and cold Which relenting love would fold; Bloodless are the veins and chill Which the pulse of pain did fill; Every little living nerve That from bitter words did swerve Round the tortur'd lips and brow, Are like sapless leaflets now Frozen upon December's bough.

Tragedy delights by affording a shadow of the pleasure which exists in pain.

If seeing that other person's pain brings up your fear or anger or confusion (which often happens), just start doing tonglen for yourself and all the other people who are stuck in the very same way.

The sad part is that all we're trying to do is not feel that underlying uneasiness. The sadder part is that we proceed in such a way that the uneasiness only gets worse. The message here is that the only way to ease our pain is to experience it fully. Learn to stay. Learn to stay with uneasiness, learn to stay with the tightening, learn to stay with the itch and urge of shenpa, so that the habitual chain reaction doesn't continue to rule our lives, and the patterns that we consider unhelpful don't keep getting stronger as the days and months and years go by.

Each of us has a "soft spot": the place in our experience where we feel vulnerable and tender. This soft spot is inherent in appreciation and love, and it is equally inherent in pain.

The only way to ease our pain is to experience it fully. Learn to stay with uneasiness, learn to stay with the tightening, so that the habitual chain reaction doesn't continue to rule your life.

When we protect ourselves so we won't feel pain, that protection becomes like armor, like armor that imprisons the softness of of the heart.

Transformation is only valid if it is carried out with the people, not for them. Liberation is like a childbirth, and a painful one. The person who emerges is a new person: no longer either oppressor or oppressed, but a person in the process of achieving freedom. It is only the oppressed who, by freeing themselves, can free their oppressors.

You have understood what all great painters understand: in order to forget the rules, you must know them and respect them.

In order to dominate the soul you must also learn to dominate the body. And in order to dominate the body you cannot fear pain.

We all have other halves, and when they're feeling bad, we get a little piece of the pain

Painters strike me as having warm uncomplicated friendships and probably more natural generosity than the practitioners of any other art. Perhaps this is because painting is such a portable, flexible thing.

When you paint things exactly as they are, you don't show people anything that they couldn't see for themselves; you're telling them what they already know.

Wait, we can not break bread with you. You have taken the land which is rightfully ours. Years from now my people will be forced to live in mobile homes on reservations. Your people will wear cardigans, and drink highballs. We will sell our bracelets by the road sides, and you will play golf, and eat hot h'ors d'ourves. My people will have pain and degradation. Your people will have stick shifts. The gods of my tribe have spoken. They said do not trust the pilgrims, especially Sarah Miller. And for all of these reasons I have decided to scalp you and burn your village to the ground.