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When we read a story, we inhabit it. The covers of the book are like a roof and four walls.

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Marilyn Monroe Paulo Coelho Abraham Lincoln C. S. Lewis Khalil Gibran Charlie Chaplin Gautama Buddha Isaac Newton

Japanese art looked closely around screens; Italian Renaissance art surveyed conquered nature through the window or door-frame of a palace.
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A drawing is an autobiographical record of one’s discovery of an event – either seen, remembered or imagined. A ‘finished’ work is an attempt to construct an event in itself.
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When he painted a road, the roadmakers were there in his imagination, when he painted the turned earth of a ploughed field, the gesture of the blade turning the earth was included in his own act.
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Photography, because it stops the flow of life, is always flirting with death.
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Drawing is a way of coming upon the connection between things, just like metaphor in poetry reconnects what has become separated.
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If everything that existed were continually being photographed, every photograph would become meaningless.
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For me, drawing is a lot to do with taking out, with returning to the white of the paper.
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Men look at women. Women watch themselves being looked at.
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Whenever the intensity of looking reaches a certain degree, one becomes aware of an equally intense energy coming towards one through the appearance of whatever it is one is scrutinizing.
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You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting “Vanity,” thus morally condemning the woman whose nakedness you had depicted for you own pleasure.
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In the modern world, in which thousands of people are dying every hour as a consequence of politics, no writing anywhere can begin to be credible unless it is informed by political awareness and principles.
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We can become anything. That is why injustice is impossible here. There may be the accident of birth, there is no accident of death. Nothing forces us to remain what we were.
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It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.
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Common-sense is part of the home-made ideology of those who have been deprived of fundamental learning, of those who have been kept ignorant.
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The time of a cigarette is a parenthesis, and if it is shared, you are both in that parenthesis. Its like a proscenium arch for a dialogue.
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Emigration, forced or chosen, across national frontiers or from village to metropolis, is the quintessential experience of our time.
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