Patricia [Rozema] is really special, and she really worked hard to make the environment and the landscapes' natural beauty come alive. She was not forceful with anything, but enabled it to really have this poetic nature.
You know, a landscape painter's day is delightful. You get up early, at three o'clock in the morning, before sunrise; you go and sit under a tree; you watch and wait. At first there is nothing much to be seen. Nature looks like a whitish canvas with a few broad outlines faintly sketched in; all is misty, everything quivers in the cool dawn breeze. The sky lights up. The sun has not yet burst through the gauze veil that hides the meadow, the little valley, the hill on the horizon. . . . Ah, a first ray of sunshine!
Los Angeles is more hospitable to writers [Than NY]. It's less claustrophobic. It feels more unpredictable and dangerous, and the landscape is less structured. You see coyotes lurking all over the place. It just feels wilder and more dangerous.
What I wanted to try and figure out was, okay, in contemporary 21st century life the alienation between the self and the land around you or the self and even the urban landscape. You name it.
. . . And for every day you paint the war, take a week and paint the beauty, the color, the shape of the landscape you’re marching towards. Everyone knows what you’re against; show them what you’re for.
We take a handful of sand from the endless landscape of awareness around us and call that handful of sand the world.
Unlike the book, with a documentary, you get a chance to show much more texture and color. Film gives you get a chance to focus on much more individuals who are pivotal in changing the landscape of American culture.
I love nature, I love the landscape, because it is so sincere. It never cheats me. It never jests. It is cheerfully, musically earnest. I lie and relie on the earth.
Still photographs often differ from life more by their silence than by the immobility of their subjects. Landscape pictures tend to converge with life, however, on summer nights, when the sounds outside, after we call in children and close garage doors, are small - the whir of moths, the snap of a stick.
Our engineering departments build freeways which destroy a city or a landscape, in the process.
I have to try and change the landscape, whatever it is.
Panorama is the first word for landscape in Greek. It was about [how today] we see everything, we get to see everything, everything is shown to you whether you want it or not, but all of the time you only see fragments of reality. The big picture we really don't see; it's kind of hard to make it up.
Visual surprise is natural in the Caribbean; it comes with the landscape, and faced with its beauty, the sigh of History dissolves.
What we can do as landscape architects is look at how we can use materials to the best advantage, and our resources like water. Water is so precious that we can't waste it, we have to use it in small amounts, and we have to use it effectively.
It's hard to negotiate the present landscape with a brain and a female body
Man is always and everywhere a blight on the landscape.
There are bound to be differences in any artistic collaboration with landscape elements, or theater, of lighting elements.
Somerset Maugham said that it took at least six human beings to make one fictional character. That is true of landscape as well, I think. We have to make our landscapes, change streets, create new turnings, rebuild or tear down, change time, and even nature, if need be.
Landscape consists in the multiple, overlapping intricacies and forms that exist in a given space at a moment in time.
From the landscape: a sense of scale. From the dead: a sense of scale.