There's nothing illogical, it seems to me, about saying, 'I am going to care deeply about my work and my writing. I'm also going to care deeply about my family and my child.'
For me, it's always about the work and the stories I'm telling and the slices of life I feel should be illuminated.
Life isn't about the final moments, it's about the journey, it's about process. What makes 'Rocky' work as a movie is seeing him working his way up from the streets to the arena and the fight of his life. You could just show that fight, and it would be great, but seeing that journey illuminates that fight and adds profound meaning to it.
'What is this', and 'How is this done?' are the first two questions to ask of any work of art. The second question immediately illuminates the first, but it often doesn't get asked. Perhaps it sounds too technical. Perhaps it sounds pedestrian.
For me, my one thing is eyelash extensions. I always have them on cause they just do all the work and let everything look better. If I have eyelash extensions on, I will put on some under eye concealer and maybe, like, an illuminating moisturizer and call it a day.
I never look at other people's work. My mind has to be completely focused on my own illusions.
All the great artists illustrate their approach to life in the work they make.
I love illustrating for other writers because I am given stories I never would have thought of, and my work as an illustrator is always in support of the story.
My participation in the Art of the Olympians is a natural extension of my athletic career. I find creating a piece of art in many respects mirrors my long jumping efforts illustrating that hard work and inspiration will always be the foundation for success.
I really don't like art where you need to know so much theory to understand. If the theory is removed, it doesn't do anything. That means that this work is an illustration of theory, and I don't believe in the power of the work itself.
Comics don't work if the story is all in the text and the images are illustrative. It's hard to have enough faith in the artists to allow them to do their job.
Some people have been kind enough to call me a fine artist. I've always called myself an illustrator. I'm not sure what the difference is. All I know is that whatever type of work I do, I try to give it my very best. Art has been my life.
I love being an illustrator because I get to read really great stories, work with amazing people, travel and see places I never would've seen. And I get to draw all the time.
As so many writers know, the experience of creating an imaginary world is closer to dreaming than it is to normal, grit-your-teeth work. It's preconscious rather than conscious. Ideas fall into your head, and the book writes you, rather than the other way around.
From the beginning, I imagined I would have a long work life.
I have decided to leave Facebook and Oculus to work on curing diseases using some new imaging technologies I've been incubating for awhile.
We must pay greater attention to keeping our bodies and minds healthy and able to heal. Yet we are making it difficult for our defences to work. We allow things to be sold that should not be called food. Many have no nutritive value and lead to obesity, salt imbalance, and allergies.
Once avant-garde artists receive official recognition, they start a double life. In one, they inspire younger artists to do more. In the other, they inspire a mass of imitators who make the work respectable and exclusionary. The artists and their art become intellectual brand names.
It's great that New York has large spaces for art. But the enormous immaculate box has become a dated, even oppressive place. Many of these spaces were designed for sprawling installations, large paintings, and the Relational Aesthetics work of the past fifteen years.
If you look at Mormonism, it's a very appealing community. It takes care of itself; there are active charities. It's got a successful work ethic. Whatever you might think about the authenticity of their theology or their history, it's immaterial in terms of how the religion itself actually functions.
