Allison Williams Quotes

I painted the Astor-Victoria sign seven times, and it's 395 feet wide and 58 feet high. I dropped a gallon of purple paint on Seventh Avenue and 47th Street from 15 stories up and didn't kill anybody. I dropped a brush at Columbus Circle. It fell on a guy's camel-hair coat.

I have the same sense of discovery and exhilaration from objects of design and everyday use - I am inspired by the buildings in my city, by park greenery and dazzling store windows, by the jaunty strollers and umbrellas and billboards I walk past. Just strolling our streets, we encounter creativity every single day.

Many of our buildings have large format murals that are of varying subject matter, and we've found that those are the sort of things that make people stop, digest, and absorb.

For me, it's mostly about having stuff on the street. You're walking down the street, you do it every day, and suddenly there's something that wasn't there yesterday: something bright and cheerful and different. It might stay there for a year; maybe it will disappear.

In Holland, we have a saying: 'A knife cuts on two sides.' With the rubber duck, I'm trying to show people what they haven't been seeing in their public space. When the rubber duck is there and when it's gone, you know.

I have always been very intrigued by the outside of buildings. I can just walk down the street and be content with watching facades. I don't have to go inside.

Often the art in New York is related to the buildings, to grandiose things.

I painted billboards above every candy store in Brooklyn.

According to one critic, my works looked like scraped billboards. I went to look at the billboards and decided that more billboards should be scraped.

I'd paint long strips of canvas and abandon them on the beach, or put bread out in geometric patterns for the pigeons downtown. I wanted people to find something nice and intriguing to puzzle over. Then I'd go back to see if the things were still there, or if anyone would notice.

There's no place that communicates as much - and as quickly - as Times Square does. I see the roiling energy and its forceful race into the future. Of course, after 15 minutes, I want to get as far away from there as possible.

Spraypainting a shop shutter turns an ugly, boring thing into something interesting and colourful. I think you'd have to be a pretty negative person to find fault in it.

It's amazing how, in New York, there is almost a feeling of entitlement by the public - this very palpable lack of surprise at being stopped in the street and being asked to be the subject of a 12-foot monumental painting.

From a filmmaker's point of view, there is something undeniably cinematic about a location like Santa Monica Boulevard, which is so chaotic and busy and over-stimulating.

In certain places around the world, street art is widely accepted and it is part of the urban environment.

My idea is to fill an intersection with color. That will include the road and the sidewalk and up the building, so there's a cubic volume of color in the intersection wedged between four corners and four buildings.

If you have a statue in the city centre you could go past it every day on your way to school and never even notice it, right. But as soon as someone puts a traffic cone on its head, you've made your own sculpture.

In the city of flesh I travel without maps, a worried tourist: and Ottilie was a very Venice. I stumbled lost in the blue shade of her pavements. Here was a dreamy stillness, a swaying, the splash of an oar. Then, when I least expected it, suddenly I stepped out into the great square, the sunlight, and she was a flock of birds scattering with soft cries in my arms.

In time you shall see Fate approach youIn the shape of your own image in the mirror;Or you shall sit alone by your own hearth,And suddenly the chair by you shall hold a guest,And you shall know that guest,And read the authentic message of his eyes.

The real art is in the street, is making the artwork, and for that you have to involve people. The action is actually the artwork.

Methinks you are my glass, and not my brother: I see by you I am a sweet-faced youth.

I shut the bathroom door and caught sight of my face in the mirror. I had no idea how quickly it was to change, to fade. If I had, I would have stared at my reflection, memorizing it. It was the last time I would look into a real mirror for more than a decade.

I think we've all got a mirror man in our life - male, female, it's someone who love themselves before they can love anyone else.

You can't see the world through a mirror.

I realise the power of art that does not hang on the walls of galleries.