Quotes About Concealment

What could I do? My needlework teacher suffered from a problem of vision. She recognised things according to expectation and environment. If you were in a particular place, you expected to see particular things. Sheep and hills, sea and fish; if there was an elephant in the supermarket, she'd either not see it at all, or call it Mrs Jones and talk about fishcakes. But most likely, she'd do what most people do when confronted with something they don't understand: Panic.

She grew in secret, away from their eyes. Outwardly she was obedient and loving, but inside she was feeding a hunger—

Very often history is a means of denying the past. Denying the past is to refuse to recognise its integrity.

We were underground', she said. 'Not just the pipeworks, everything!

pressed up against the rear wall, half hidden by shirts and dresses dangling from hangers, was a tall, thin girl with wide, terrified eyes. Her hands were wrapped around the muzzle of a small, wildly squirming dog.

From that day on, pay of me yearned to be invisible. In a way, nothing would have been nicer than for no one to see me. Although I could not have defined it at the Tom me, I felt if attention were drawn to me, people would see what this girl had first responded to. They wouldn't see me, the would see the slanted - eye face, the Oriental.

Once you hear the details of victory, it is hard to distinguish it from a defeat.

What's done at night belongs to the night. In the daytime you don't talk about it.

Things are entirely what they appear to be and BEHIND THEM... there is nothing.

There is a theme that runs through my work, and that is: the toxic property of keeping secrets.

The less manifest the work, the stronger: as though a secret law demanded it always be hidden in what it shows, thus showing what must remain hidden, only showing it, in the end, by dissimulation.

When you're famous you can't go to Topshop. Even when I disguise myself in a moustache, baseball cap, sunglasses - the full Madonna kit - it doesn't work: my stupid face is too big.

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

At school I'd want to be so small that nobody could see me, and so my work depicts and reflects me - what it felt like to grow up in a world of pain.

As an experienced artist, I carry my work like a secret pregnancy. I am always aware of inner life and the need to protect it.

It's different if you're a painter. You can hidethe ones that don't work. You can't do that with movies. They tellthe story of who you are at the time, and that's the wonderful thingabout it.

I tended to lean toward character work. I love to disguise myself.

My natural instinct after doing something shameful is not to rush into the street boasting about it but to put on dark glasses and head for the next county, hoping nobody notices I've been in the neighborhood.

And when a woman's will is as strong as the man's who wants to govern her, half her strength must be concealment.

For about three or four years, I was in a lot more physical pain and stress than anybody knew. When I would meet people, I was kind of standoffish. That was because I was in a bit of a funk.

People always think I'm not scared. I've noticed that whenever I feel stressed, everyone thinks I'm fine, and later, it's like, 'I was not fine.'

I was so stressed in the closet. In an interview, I was scared they were going to ask me about a crush, or the type of girl I liked, or whatever it was. And I was going to have to lie by omission. It was always in the back of my mind.

On recovering my senses, I hastened to quit a place where I hoped there was nothing further to detain me. I first filled my pockets with gold, then fastened the strings of the purse round my neck, and concealed it in my bosom.

One day I'll do a Dorian Gray, and there will be a picture in the attic. I'll look like Helen Daniels from 'Neighbours' after her stroke.