I imagined that if the surface of the package imitated the colour and texture of the fruit skin, then the object would reproduce the feeling of the real skin.
A ceiling fixture that places a floating assembly of large pebbles below a simple modern aluminum disc. These in turn reflect each other, bouncing light between their taught bio-morphic surfaces and reflecting the environment around them. During the day, the piece acts as a sculptural object reflecting the dynamics of natural light and movement of people around them.
I seek what lies beneath surface beauty. What interests me are intimate human complexities - the darkness as well as the light. I cannot will this kind of transcendent communication into existence. I have to be open and truly present, and if I am lucky, grace descends. My best photographs are an honest collaboration, and when the viewer also connects, I feel the circle is complete.
The context of the general teachings is one of talking to a sentient being who is experiencing uninterrupted bewilderment one thought or emotion after another like the surface of the ocean in turmoil, without any recognition of mind essence. This confusion is continuous, without almost any break, life after life.
I think all of us have our inner 13-year-old a lot closer to the surface than we're willing to admit even to ourselves.
Frequently on the lunar surface I said to myself, 'This is the Moon, that is the Earth. I'm really here, I'm really here!'
I'm lucky enough that directors sometimes seek me out for little projects that people don't even know about, that just surface later on.
I've been taking my time now between projects looking for stuff that has a little bit more substance, that isn't surface. Some of the films that I've done in the past really were surface.
I started to itch to do a play again and 'Macbeth' came to the surface in my mind. I never thought I would do it in a conventional way. A sweaty Macbeth with blood on his arms coming in fresh from the battle doesn't interest me.
I've been out to LA a couple of times but, over there, the Grenouille in me always comes to the surface. I feel completely terrified, totally flummoxed, like I don't understand what the hell is going on. I've no desire at all to go back there.
To what purpose is it to be artificially happy on the surface?
On the surface I look fragile and insecure; you have to know me very well.
If you go to Florence, it has all surface beauty, but like Venice, it's simply a museum of Renaissance times. Los Angeles is raw, uncouth and bizarre, but it's a place of substance. It has more new horizons than any other place.
With impeccable timing and a fine instinct for the telling detail, Francesca Abbate evokes the plenitudes and the deprivations of human habitation, the nurturing richness of landscape, and the soul-wound wrought by casual defacement. Abbate has a superb capacity for distillation and a mastery of poetic line, and her diction is remarkably flexible, accommodating both the demotic and the lyrical. Her poems are as consistent in quality as they are varied in pacing, surface, and tone. A fine first book.
The biology of purpose keeps my nose above the surface.
It is quite true - in fact, obvious on the surface - that the vast majority of dramatic shows and comedies, as well, advocate a liberal and humanistic and relativistic lifestyle and concept.
I have always wanted to know what's going on under the surface.
In Sweden everybody has this perfect surface. Everyones very polite and controls their feelings.
I've seen lawyers who don't represent me and spokespeople who do not know me speaking for me. These characters always seem to surface with dreadful allegations just as another project, an album, a video is being released.
I wouldn't say that cutting was pleasurable, but there is a sense of euphoria that follows cutting yourself. The quick pinch of pain and the sight of blood snaps you back to the surface and you start to appreciate being alive.
The surface of the Earth is the shore of the cosmic ocean.
There are no secrets in life; just hidden truths that lie beneath the surface.
The middle of the road is all of the usable surface. The extremes, right and left, are in the gutters.
The role of the artist I now understood as that of revealing through the world-surfaces the implicit forms of the soul, and the great agent to assist the artist was the myth.
I proved that I can win the Grand Slams. I proved that I can last four and a half hours and come out on top against one of the strongest guys physically that tennis had probably seen especially on this surface. So they would probably be the things that I would say I have learned tonight: To not doubt myself physically and mentally from now on.
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