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Read through the most famous quotes by topic #pain
We also self-inflict violence, because violence is our only way of relating to the world, to others and to ourselves. ↗
Everything was a metaphor; all things were something other than themselves. The pain, for example, was an ocean, and he was adrift on it. His body was a city and his mind a citadel. All communications between the two seemed to have been cut, but within the keep that was his mind he still had power. The part of his consciousness that was telling him the pain did not hurt, and that all things were like other things, was like...like...he found it hard to think of a comparison. A magic mirror, maybe. ↗
The most fundamental aggression to ourselves, the most fundamental harm we can do to ourselves, is to remain ignorant by not having the courage and the respect to look at ourselves honestly and gently. ↗
Hey, if you'd wanted to avoid 'this,' you shouldn't have lured me last night. Now it's too late. You might as well avoid the long, drawn-out pain and get it over with quickly. Sort of like taking off a Band-Aid. Or cutting off a limb." "Wow, who says there's no romance left in the world? ↗
both you and paintings are layered… first, ephemera and notations on the back of the canvas. Labels indicate gallery shows, museum shows, footprints in the snow, so to speak. Then pencil scribbles on the stretcher, usually by the artist, usually a title or date. Next the stretcher itself. Pine or something. Wooden triangles in the corners so the picture can be tapped tighter when the canvas becomes loose. Nails in the wood securing the picture to the stretcher. Next, a canvas: linen, muslin, sometimes a panel; then the gesso - a primary coat, always white. A layer of underpaint, usually a pastel color, then, the miracle, where the secrets are: the paint itself, swished around, roughly, gently, layer on layer, thick or thin, not more than a quarter of an inch ever -- God can happen in that quarter of an inch -- the occasional brush hair left embedded, colors mixed over each other, tones showing through, sometimes the weave of the linen revealing itself. The signature on top of the entire goulash. Then varnish is swabbed over the whole. Finally, the frame, translucent gilt or carved wood. The whole thing is done. ↗
