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“I always say that my artist statement is to not be afraid to talk about the messiness - the unpleasant feelings and happenings around my life. I also try to convey what it feels like and sounds like and smells like and looks like inside of my particular skin, to move through the world as a black American woman in her mid-twenties. Language from songs and TV shows feel integral because it helps to create the environment and describe the full picture.”

“If any man claims the Negro should be content... let him say he would willingly change the color of his skin and go to live in the Negro section of a large city. Then and only then has he a right to such a claim.”

“There's always a joy in newness as a painter, and in sub-Saharan Africa, I encountered different realities with regard to light and how it bounces across the skin. The way that blues and purples come into play. In India and Sri Lanka, it was no different. It became a moment in which I had an opportunity to learn as a painter how to create the body in full form, and that's a very material and aesthetic thing. This is not conceptual. It's all an abstraction.”

“When I was in the second grade, one of my teachers said, "Where are you going to find a husband? How are you going to find someone darker than you?" I was mortified. I remember seeing a commercial where a woman goes for an interview and doesn't get the job. Then she puts a cream on her face to lighten her skin, and she gets the job! This is the message: that dark skin is unacceptable. I definitely wasn't hearing this from my immediate family - my mother never said anything to that effect - but the voices from the television are usually much louder than the voices of your parents.”

“When I first saw a White Dutch person dressed up as Black Pete, I was both sickened and shocked. It's hard to stand next to someone who views your skin color and hair as a costume. As a filmmaker, whenever I get that feeling, I want to explore what motivates people to engage in such offensive behavior and enlighten folks about its origins.”

“Leading with character gives the wise leader clear-cut advantages. They are easier to trust and follow; they honor commitments and promises; their words and behavior match; they are always engaged in and by the world; they are open to "reflective backtalk": they can speak with conviction because they believe in what they are saying...and everyone else knows that. They are comfortable in their own skin. They feel at ease in the spotlight and they enjoy it there. They tend to be more receptive to opportunity and risk.”

“I admire companies that have a purpose, passion, and performance. I am a fan of Unilever under its CEO Paul Polman, not only for the company's insights into women and men when they buy beauty products or skin products (the DOVE woman, the AXE man), but also as a company seeking to achieve both growth and practicing social responsibility.”

“I don't think I'm wrong when I say that the most beautiful objects of the "stone age" were made of skin, fabric, and especially wood. The "stone age" ought to be called the "wood age." How many African statues are made of stone, bone, or ivory? Maybe one in a thousand! And prehistoric man had no more ivory at his disposal than African tribes. Maybe even less. He must have had thousands of wooden fetishes, all gone now.”

“I was under the misconception that I have oily skin, I'm prone to breakouts, I shouldn't moisturize or put anything on my face. And then realizing, "Oh, no, my skin is incredibly dry - that's why I'm breaking out. I need to wear moisturizer." Some of these steps could be anti-"I'm serious," but that's the one thing I feel I know the way on. I'm not snobby about anything else.”

“In the performing arts you have to have thick, thick, thick skin, because of all the rejection you face on a daily basis, and the fact that work never lasts for very long. But you need thin, thin, thin skin in order to access all of your emotions and your creativity so that you can express it. You can't be dead inside. Otherwise you've got nothing to give. So it's a paradox, that we have to exist in both planes in order to do what we do.”

“Whether you're acting or you're writing, your skin is just basically ripped off and you're putting yourself out there. At least the acting part comes with a bit more social interaction. And you're a bit less isolated because you are working with the director and the crew, and there's a general camaraderie. Writing, you're totally isolated. You're just trying to get the words on paper.”

“I know so many kids who literally are, like, Instagram-famous. They have done nothing but post pictures on Instagram. And they have followings. People love to see them in person, but it's only because they post on their Instagram. It's literally crazy. Kids will paint a picture of themselves that is so far beyond who they actually are. It's like they're wearing someone else's skin.”

“I believe that a negative statement is poison.I'm convinced that the negative has power. It lives. And if you allow it to perch in your house, in your mind, in your life, it can take you over. So when the rude or cruel thing is said - the lambasting, the gay bashing, the hate - I say, "Take it all out of my house!" Those negative words climb into the woodwork and into the furniture, and the next thing you know they'll be on my skin.”

“Of course you can more easily recognise the outsiders because they have a different skin color. But let us take for instance the relationship between the White Anglo-Saxon Protestant majority in America and the negroes. What is important here is that the negroes were the descendants from slaves and were excluded from power, while the white majority kept them at bay, kept them down, kept them where they are. If the negroes in the future became assimilated and acquired equal power access, if there were a black president, then many of these things would change.”

“I have touched here on a problem that is masked if one speaks of racism. And that is the fact that the major differences between the established and outsiders group, which create tension and irritation, is not the form of the face or the skin color but the form of behavior: something learned. The form of behavior and feeling, of sentiment, is different in the immigrant groups from that of the established groups, and that may give rise to an enormous irritation.”