Quotes About Artistry

The idea of going on tour for the rest of my life with old works is not that exciting. As an artist I definitely think the work in future is going to be better than the work in the past, otherwise why do it?

You can muck around with different guitars for certain bits, but you have to have your own sound. That's your benchmark, that's your sound. I also play a Black Beauty. It sounds amazing.

Where the spirit does not work with the hand there is no art." —Leonardo Da Vinci

Act as if you're a writer. Sit down and begin. Act as if you might just create something beautiful, and by beautiful I mean something authentic and universal. Don't wait for anybody to tell you it's okay.

If we are artists- hell, whether or not we're artists- it is our job, our responsibility, perhaps even our sacred calling, to take whatever life has handed us and make something new, something that wouldn't have existed if not for the fire, the genetic mutation, the sick baby, the accident.

Don't think too much. There'll be time to think later. Analysis won't help. You're chiseling now. You're passing your hands over the wood. Now the page is no longer blank. There's something there. It isn't your business yet to know whether it's going to be prize-worthy someday, or whether it will gather dust in a drawer. Now you've carved the tree. You've chiseled the marbled. You've begun.

You don't sound like a scientist; you sound like a poet." Rey smiled. "Can I be both?" "But you'd rather be a poet." "Who wouldn't?" he said.

I'd gladly read something that is exceptionally stupid or bad as long as it was done by someone with some sort of personal vision, even if that person was a complete moron.

As Pablo Picasso (no slouch at theft himself) put it, "Good artists borrow. Great artists steal.

Metaphor is the lifeblood of all art." —TWYLA THARP

the R-Directed aptitudes so often disdained and dismissed—artistry, empathy, taking the long view, pursuing the transcendent—will increasingly determine who soars and who stumbles. It's a dizzying—but ultimately inspiring—change.

The future belongs to a very different kind of person with a very different kind of mind – creators and empathizers, pattern recognizers and meaning makers, artists, inventors, and designers, storytellers, caregivers, consolers, and big picture thinkers.

We create because we cannot stop ourselves from doing so. Because our brains were made that way.

I had to try and find a way to express happiness without sounding corny.

I guess, at the end of the day, I want to be viewed as a musician.

I've always wanted to be a songwriter and a storyteller and somebody who conveys a feeling to the listener or the viewer.

As an artist, we have a big influence, and we should always think if we are doing more harm than good to our viewers. We should serve as a model to them.

I want to seduce my viewers and be able to hold them with the work. Much of that is done in terms of formalist ideas that I bring to the work.

It's weird because when you initially write a song, you write it with no understanding that the world is maybe going to hear it one day. So when you go into the studio, you don't see the hundreds of people at a gig or the viewers on TV, you just write a song without any inhibitions or boundaries.

Festivals are where I see other peoples' films, where we talk, where I get to learn what was working about the film, I get to have a discussion with viewers... and people who enjoy reading films - I enjoy reading other peoples' films, and what discussions can come of that.

I think that people are taking our artistry a little more serious compared to when we started. They are of course fascinated and entertained by who we are as performers and what we do in terms of our artistry, but a lot of viewers identify with us as human beings. I think that that has helped change how people view drag.

I feel that if my work excites me and makes me deliver my best, then it should, hopefully, entertain viewers as well.

From a technical viewpoint, I have certain things I'd like to present in my solos. To do this, I have to get the right material. It has to swing, and it has to be varied.

If I have an opportunity to do something safe or something challenging, I'll often choose the latter. Sometimes, the objective is to submerge my viewpoint with the artist.