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you know, it's a false excuse. you are not only an artist and a sculptor, you're also a poet and a novelist, and you have said you sculpt what you can't write and write what you can't sculpt. so how do you decide which is which, barbara? that is a very good question. they chuckle i don't know how i do that. all i know is that for a very long time, i kept the two professions totally apart, and that now at the end of my life, finally there is a kind of conversion, or convergence of literature and sculpture. i have two retrospective sculpture exhibitions on back—to—back and i have my
a poet and a novelist, and you have said you sculpt what you can't write and write what you can't sculpt. so how do you decide which is which, barbara? that is a very good question. i don't know how i do that. all i know is that for a very long time, i kept the two professions totally apart, and that now at the end of my life, finally there is a kind of conversion, or convergence of literature and sculpture. i have two retrospective sculpture exhibitions on back—to—back and i have my memoir, i always knew. yes. so you've published your memoir, i always knew, which is structured around 30 years of letters
you know, it's a false excuse. you are not only an artist and a sculptor, you're also a poet and a novelist, and you have said you sculpt what you can't write and write what you can't sculpt. so how do you decide which is which, barbara? that is a very good question. they chuckle i don't know how i do that. l all i know is that for a very long time, i kept the two professions totally apart, and that now at the end of my life, finally there is a kind of conversion, or convergence of literature and sculpture. i have two retrospective sculpture exhibitions on back—to—back and i have my memoir, i always knew. yes. so you've published your memoir, i always knew,
and you have said you sculpt what you can't write and write what you can't sculpt. so how do you decide which is which, barbara? that is a very good question. they chuckle i don't know how i do that. all i know is that for a very long time, i kept the two professions totally apart, and that now at the end of my life, finally there is a kind of conversion, or convergence of literature and sculpture. i have two retrospective sculpture exhibitions on back—to—back and i have my memoir, i always knew. yes. so you've published your memoir, i always knew, which is structured around 30 years of letters to your late beloved mother.
you are not only an artist and a sculptor, you're also a poet and a novelist, and you have said you sculpt what you can't write and write what you can't sculpt. so how do you decide which is which, barbara? that is a very good question. they chuckle. i don't know how i do that. all i know is that for a very long time, i kept the two professions totally apart, and that now at the end of my life, finally there is a kind of conversion, or convergence of literature and sculpture. i have two retrospective sculpture exhibitions on back—to—back and i have my memoir, i always knew. yes.
of art may not be secure? we saw how the treasures of timbuktu... that's a... no. ..in mali — when it was overrun by extremists, people really worried about what would happen to these fine treasures in 2013. that is really a colonial attitude towards art and also towards museums. and the fact that africa has made incredible progress in sort of excavating their own history and celebrating it, so that's not the problem. it's... you know, it's a false... you know, it's a false excuse. you are not only an artist and a sculptor, you're also a poet and a novelist, and you have said you sculpt what you can't write and write what you can't sculpt.