Women From Canada

"“They call themselves the light.” “What about it?” “If you are the light,” she said, “then your enemies are darkness, right?” “I suppose.” “If you are the light, if your enemies are darkness, then there’s nothing that you cannot justify. There’s nothing you can’t survive, because there’s nothing that you will not do.”"

"“Why would he marry a twelve-year-old?” “He had a dream where God told him he was to repopulate the earth.” “Of course he did,” the clarinet said. “Don’t they all have dreams like that?” “Right, I always thought that was a prerequisite for being a prophet,” Sayid said."

"Miranda is aware of how pretentious this sounds, but is it still pretentious if it’s true?"

"Tesch seems to be someone who mistakes rudeness for intellectual rigor."

"If definitive proof emerges that we’re living in a simulation, the correct response to that news will be So what. A life lived in a simulation is still a life."

"She is beautiful in a way that makes people forget what they were going to say when they look at her."

"It’s possible that no one who didn’t grow up in a small place can understand how beautiful this is, how the anonymity of city life feels like freedom."

"The journalist is beautiful in the manner of people who spend an immense amount of money on personal maintenance. She has professionally refined pores and a four-hundred-dollar haircut, impeccable makeup and tastefully polished nails. When she smiles, Arthur is distracted by the unnatural whiteness of her teeth, although he’s been in Hollywood for years and should be used to it by now."

"“Hell is other actors,” Kirsten said. “Also ex-boyfriends.”"

"The horse, Bernstein, was missing half his tail, because the first cello had just restrung his bow last week."

"How hushed and still are earth and air, How lanquid 'neath the sun's firece ray- Drooping and faint flowers fair, On this hot, sultry, summer day!"

"...the wild flowers blooming in hushed solitude Start not at the whispering, 'tis but the breeze"

"Sleep, with her tender balm, her touch so kind,  Has passed me by; Afar I see her vesture, velvet-lined,  Float silently; O! Sleep, my tired eyes had need of thee! Is thy sweet kiss not meant to-night for me?"

"The pine trees whispering, the heron's cry, The plover's passing wing, his lullaby."

"August is laughing across the sky, Laughing, while paddle, canoe and I Drift, drift, Where the hills uplift On either side of the current swift."

"Thy soft-breathed hopes with magic might Have chased from my soul the shades of night"

"Poetical spaces too can be painted like a vase."

"Performance of the violinist -- it's all in the interpretation and all the virtuosity comes out of the context of the interpretation!"

"If Marx were still alive, he would write: “Social networks are the opium of nations!"

"A hero; in our dark, indifferent and cruel universe is the one who makes life bearable and meaningful for human condition."

"It is easy to start a war, but its end is decided by will-o-the-wisp, which is so effective in deceiving travelers on this road!"

"The pronouncements by Hegel and Nietzsche, on "the End of Art" and "the Death of God" ignited the fad of Endism in the western culture in the final century of the last millennium. Daniel Bell 's "The End of Ideology" (1960), Martin Heidegger's "The End of Philosophy" (1973), Theodore J. Lowpdi's "The End of Liberalism" (1979), Arthur Danto's "the End of Art" (1984), Bill McKibben's "The End of Nature" (1989), Francis Fukuyama's "The End of History" (1992), Kenichi Ohmae's "The End of the Nation State" (1996), Jorie Graham 's "The End of Beauty" (1999), Chris Dillow's "The End of Politics” (2007) were just some of such seemingly endless stream of "endings", which made one wonders that at such high rate will there anything be left for a future ending!"

"How would you explain Manet’s '? Yes, you may say that the mirror in the back of the barmaid, like Plato’s , shows that the reflections in the mirror are as close as the viewers get to viewing reality, which is mixed up with the inner reality of the barmaid, her reflection in the mirror, and her own picture in front of the viewer and image of Manet himself as the painter and as the creator of that painting in that mirror. Yet we know that this picture cannot be real since the artist cannot simultaneously be painting the picture and be steering at the barmaid in the guise of a client in the picture. Since, if the picture shows the true reality the mirror must reflect the painter performing the act of painting! Explanations like these are, of course, stating the obvious. The truth pf this painting is all revealed at that very moment in which it connects with the subconscious of the viewers. Manet does not want to warn his viewers that “look! I am showing you the illusion of picturing reality in painting”. If he really wanted to give such a warning he would have written such a warning underneath his work, pretty much the same way that wrote '. But, even Magritte’s warning is not that clear! What is not a pipe, that illustration of a pipe? If so, then that is obvious, and what is the point of stating the obvious? Perhaps Magritte like Ferdinand de Saussure wants to say there is a difference between the pipe as a ‘signifier’ and the pipe as a ‘signified’. As I stated the grammar of painting is different from the grammar of language."

"As Amish say "There is a vast difference between putting your nose in other people's business and putting your heart in other people's problems,” and there is also a vast difference between using the ‘grammar of language’ and the ‘grammar of painting’. In a language we have subjects, adjectives, verbs, and so on, and in painting we have light, composition, geometric planes, and lines. It is by using this grammar that one can understand a work of art. This is very similar to Ferdinand Saussure’s, distinction between “la langue” and “la parole” for interpretation of written words."

"It must be said that an authentic work of art needs no philosophical justification. In principle, if Philosophical Treatises could explain a work of art then there would be no justification for the existence of that work art. Put it differently, a work of art precisely enters into the scene when philosophy and other experimental sciences are inept of representing or elucidating an artistic vision."

"I believe any philosophizing about art is absurd and empty. Unfortunately, in the last century a phenomenon has emerged in which the status of “work of art” were granted to many foolish, tacky, and distasteful works as long as they were accompanied by ten or twelve pages of philosophizing justification."

"I love to experiment with all styles, and do not have any particular prejudice or bias towards any specific style. These works appear, and they turn out, the way they should. I do not decide in what style I want to paint. I am only experimenting. Even Picasso, when he arrived at Cubism, had already experimented with a lot of other styles."

"In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new."

"I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture."

"If I were the type of artist that didn't care whether or not my works communicated with viewers then I wouldn't bother exhibiting them, I might as well stock them in a warehouse. But I do exhibit and I do care because I want to communicate back to the viewer what I've viewed. My paintings are inspired by my homeland's traditional spaces. My colors are the colors of monasteries and mosques, the color of ruins of Sassanid and Seljuq era, colors of Bazaars of Isfahan and Shiraz, and colors of northern-Iran's ceramics. I have sensed all these colors, forms and everything within my painting's frame from the viewer's own world."

"Seurat and Signac mixed paintings with the dry and abstract laws of science. This approach, in my opinion, usually strays from the purpose of art in general. Because it means that one cannot expect from an artifact, that is created with mathematical laws, to establish an improbable and irrational relationship between the work and the viewer."

"As for the value of color I am close to the philosophy of Fauvists: Matisse, Raoul Dufy, and Vlaminck. In other words, color for me is the most important constituent of painting. The composition and form extract themselves from the depth of color. My colors are the spirit of my paintings. For example, when the space is sad it is my pallet of colors that convey this sadness first."

"These days there are painters that go inside a factory in order to be inspired by the noise of machines, so that it affects their works. Of course, artists need sensibility; sensibility towards their environment and their community, but when they are stirred enough by their experiences in their society they can create their art in small studios."

"Some say it appears that painting has come to an end. I say the problem is that the painters' curiosity has come to an end, and this is more observable in the West and not in the East, since in the East there are plenty of untouched and unexplored spaces that could still inspire an artist as sources of creativity."

"I never have restricted myself into a frame of a particular technique. My techniques are determined simultaneously along with the subjects of my works. It is similar to the works of a poet, the form of a poem is determined at the same time as its content."

"As with respect to viewers, I must say that gallery-viewing is increasingly becoming more of a fashion than a love. Many of the openings have turned into exhibitions of pompousness. Also, there are groups of viewers that enter galleries with their already formed judgments. Amidst all these there are also groups that show absolutely no reaction towards the works, these are the worst. They are neither approving nor disapproving. A smaller percentage constitutes honest art-lovers who ask questions, and their views are worthwhile and they inspire real energy in an artist."

"In my opinion, people in our society are becoming like clones. Children are not reading books , and they are not learning by doing. They're just sitting and watching each other be pretty. Like my vases."

"My religion makes no sense and does not help me therefore I pursue it."

"while the shadows like long fingers over the haystacks that sweep past keep shocking him because he is riding backwards."

"She doesn't get to say much in the official biography — I believe they are out of wine, etc., practical things — watching with one eye as he goes about the world calling himself The Son Of Man."

"Night my banner, and my herald Fear."

"I think God leaves me alone to let me find my own strength because no one else can give it to me. Sometimes it is very lonely. But I know the lonely times teach me the most. I must let go in order to let anything in. No one can love me, for me. Take a big walk protected in the trees. I miss the time before today."

"What we don't let out traps us. We think, "No one else feels this way, I must be crazy." So we don't say anything. And we become enveloped by a deep loneliness, not knowing where our feelings come from or what to do with them. "Why do I feel this way? Last week, I was on top of the world and now my feelings don't make sense." Voicing it, getting it out and letting it other people hear it, helps to dissipate it. The fears and self-criticisms begin to leak. And we begin to heal."

"The more I look around and listen I realize that I'm not alone. We are all facing choices that define us. No choice. However messy is without importance in the overall picture of our lives. We all at our own age have to claim something, even if it's only our own confusion. I am in the middle of growing up and into myself."

"Honor your humanness and all of your feelings - the messy ones, the growing pains, the ache - because we can't have the dark without the light."

"May Sarton said, "the deeper you go, the more universal you become." It's a reminder to me that those things I try to convince myself I don't need to admit are usually those things I need the most to say. Speaking the truth, in its most poignant details, is liberating and gives those around us the freedom to be real."

"She faces us with our greatest fear and by showing us the treasure hidden away within it, she takes us to a place where love is born. Love is the true antithesis of fear. It expands where fear constricts. It embraces where fear repels."

"Although the patriarchal ego prides itself on being reasonable, the twentieth century has been anything but the Age of Reason. In our collective neurosis, we have raped the earth, disrupted the delicate balance of nature, and created phallic missiles of mass destruction."

"In a culture whose media extols thinness as the great panacea that will bring happiness, sexuality, self-respect and social acceptance, they are blind to the insidious lies of the false goddess. Possessed by their own damaged instincts, and ironically driven by the same desire for power that their parents used in raising them, some children wolf down food, or reject it, or vomit it out. Whether that rejection of life is concretized in 200 pounds of armor, or 90 pounds of bone, or vomit in the toilet, the surest way out of the neurosis is to try to understand what food symbolizes in the individual psyche and why the energy is pulled in that direction."

"For years they have known they are in the presence of something stronger than they—a mystery that renders them powerless. Already constellated is a "god consciousness"—awesome and holy—that has nothing to do with the church or with groups. They know they have to engage in a different arena of reality. That arena is the psyche. By virtue of their temperament, training, consciousness, these women are blessed (or cursed) with an introspective nature, an exploring mind, an invincible curiosity about themselves which connects them to their own inner microscope. For better or for worse, they are convinced that the solution to their lives is in submission not to an externally imposed authority which they cannot understand, but to a truth that abides in themselves."