Artistic Comfort Quotes

I never record in front of anybody.

A good painting to me has always been like a friend. It keeps me company, comforts and inspires.

I feel so much more comfortable when I'm working on material which makes other people scratch their heads and ask, 'You're going to make a musical out of that?'

I sit with Shakespeare and he winces not.

I always felt like an outsider of the industry, and now I feel quite comfortable as an independent artist.

Music is the poor man's Parnassus.

I do a film only when I feel I will be comfortable with the set-up and other members of the team.

I feel compelled to make art that on one hand reflects and sometimes almost creates like a sense of comfort when confronted with the strangeness of the world.

Once you're away from music, I realize that's as intrinsic to who I am as anything else. That's the part that takes me out of my brain.

It's only an interim trip. I love the music, but it's really giving me a way in which I can comfortably explore my art.

Music has always been my protection against the world, from a very young age. I feel safe inside of a jam.

I wasn't exposed to art as I was growing up, and can't recall the first time I saw a work of art. However, I remember very clearly a vision I had of a little green reindeer when I was a child, and visions emanate from the same mythical area where painting resides. Whatever the reason, I immediately felt comfortable working with visual materials.

I'm most comfortable when I'm in the studio and music playing.

I don't think I'm getting better, quote unquote, as a singer or guitar player. But I'm more comfortable in this particular space. I get better at being a bad singer, so to speak.

When I was recording music, I'd record all the parts myself, and I wouldn't let other people in; that's essentially what Blood Orange is the result of; me trying to find the most comfortable I can be with everything.

At first you're doing it for yourself, it's about what sounds good to you. It's about expressing yourself. Then you get comfortable as an artist and you find yourself and people get familiar.

I've always been much more comfortable with drawing fantasy stuff.

I am trying to stay away from this position of me "returning to my roots." As if my roots are that I'm only comfortable working on low-budget, small films. That's not the case at all.

Lamantia is faith building, encouraging poetry in that it abstractly hugs you by finally capturing the inexpressible. It's an experience similar to relief, reading his poems.

I'm always most comfortable in the studio. It's my comfort zone. I love being there, and I love making records.

Fortunately, I've never been very conscious and inhibited of what I have to do. The camera's my soul mate.

When I was about seven, one or two people encouraged me, and art became an enormous and important refuge. By adolescence, I was absolutely passionate about it and felt those paintings and those painters, whether they lived a few hundred years ago or were still alive, were somehow my companions.

I never got nervous performing my own material.

[Jazz musicians] feel comfortable with their clichés, you know.

As artists, we thrive when we can express our comfort and our discomfort. If a certain scene is really challenging for us, if we're in an environment where we feel safe, we're able to do our work.