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We are all of us walking communities of bacteria. The world shimmers, a pointillist landscape made of tiny living beings.
The landscape everywhere, away from the river, is of rock - cliffs of rock; plateaus of rock; terraces of rock; crags of rock - ten thousand strangely carved forms.
When the magic hour arrives, my thoughts center on light rather than on the landscape. I search for perfect light, then hunt for something earthbound to match with it.
An image of the earth, its landscapes, directly affects people. The beauty of the earth creates enormous emotion, and through that emotion, you can transmit knowledge and raise consciousness
For me a work of art must be an elevated interpretation of nature. The search for the ideal has been the purpose of my life. In landscape or seascape, I love above all the poetic motif.
In a landscape where nothing officially exists (otherwise it would not be 'desert'), absolutely anything becomes thinkable, and may consequently happen.
Sculpture is an art of the open air... I would rather have a piece of my sculpture put in a landscape, almost any landscape, than in, or on, the most beautiful building I know.
The suburban landscape is alien and strange and exotic. I photograph it out of longing and desire. My photographs are also about repression and internal angst.
A landscape clean and crisp in form and colour, rich in inspiration is all that an artist could wish for, begging to be used, and full of inherent possibilities.
The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.
Railways are irresistible bazaars, snaking along perfectly level no matter what the landscape, improving your mood with speed, and never upsetting your drink.
I'm not just interested in the pictorial aspects of the landscape - see a pretty place and try to paint it - but in some way to manage it, manipulate it, or see what I can turn it into.
A painted landscape is always more beautiful than a real one, because there's more there. Everything is more sensual, and one takes refuge in its beauty.
You like it, that's all, whether it's a landscape or abstract. You like it. It hits you. You don't have to read it. The work of art-sculpture or painting-forces your eye.
Nudes are the greatest to paint. Everything you can find in a landscape or a still life or anything else is there: darkness and light, character dimension, texture. I painted heads too, of course.
Bees blew like cake-crumbs through the golden air, white butterflies like sugared wafers, and when it wasn't raining a diamond dust took over which veiled and yet magnified all things
I think a photograph, of whatever it might be - a landscape, a person - requires personal involvement. That means knowing your subject, not just snapping at whats in front of you.
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.