“Of course, each of these sources of low self-esteem merits an infinite number of posts. It is, however, most important to understand that experiencing any of these early circumstances doesn’t mean you must be bound by them as an adult. They will be woven into your fabric and absorbed into your sense of yourself in different ways over time, but there are many paths to feeling that you are better prepared, less fragmented, and more confident moving forward. As an adult, when you examine your history, you can begin to see that in some cases the derision or intense negative messages you encountered weren’t necessarily meant for you. Rather, they flowed from the circumstances of the people who delivered them. That perspective can help you to dilute the power of the negative messages about yourself you received and formed. Furthermore, understanding that you are not alone in your experience can help decrease the extent to which you feel isolated and shameful.”
“People with an inferiority complex may experience chronic self-doubt, have low self-esteem, and feel the need to withdraw from social situations. Some people experience symptoms similar to those associated with a superiority complex, such as extreme competitiveness and an inability to admit to their mistakes.”
“The meaning of life is just to be alive. It is so plain and so obvious and so simple. And yet, everybody rushes around in a great panic as if it were necessary to achieve something beyond themselves.”
“Art has been valued and given importance through the artist, regarded as the one who creates something wondrous and beautiful. At a certain point, artists within that way of thinking often distance themselves more and more from the community and society. In Thai education, this system of teaching and learning art is still being used.”
“When art is no longer the center of the universe, then artists are not either. This has been a question asked of artists since the time of Walter Benjamin. He spoke about this long ago, and it has been written about for a long time.
“In the modernist view, the artist was seen as something close to a superhuman — exalted as someone with supreme specialness, with an intuition that could not be explained. When the artist was elevated above us, above the university guard or the noodle vendor next door, the artist became like a kind of demi-god, regarded as more special than anyone else.
“In fact, in contemporary thought, the artist is like a motorcycle taxi driver — it’s just another profession. We work within a framework of knowledge that is not some kind of miracle. And art itself depends on other bodies of knowledge.”
Jiradej Meemalai Co-founder of ‘Baan Noorg Collaborative Arts & Culture’
“เมื่อศิลปะไม่เป็นศูนย์กลางจักรวาล ศิลปินก็จะไม่เป็นด้วย ซึ่งศิลปินเคยถูกตั้งคำถามนี้มาตั้งแต่สมัย Benjamin Walter เขาพูดเรื่องนี้มานานแล้ว หนังสือก็เขียนมานานแล้ว
“Why escape your intended purpose by copying and trying to be someone else? You will discover who you were meant to be only after you have shown confidence being yourself.” — Suzy Kassem
Word Series: A Copy of A Copy Poster. This is a copy of a copy poster. Size: 18 x 24 in. On a matte paper. Heavyweight stock.
Both physical and NFT items are now available in our store.
When Bankei was preaching at Ryumon temple, a Shinshu priest, who believed in salvation through repetition of the name of the Buddha of Love, was jealous of his large audience and wanted to debate with him.
Bankei was in the midst of a talk when the priest appeared, but the fellow made such a disturbance that Bankei stopped his discourse and asked about the noise.
“The founder of our sect,” boasted the priest, “had such miraculous powers that he held a brush in his hand on one bank of the river, his attendant held up a paper on the other bank, and the teacher wrote the holy name of Amida through the air. Can you do such a wonderful thing?”
Bankei replied lightly: “Perhaps your fox can perform that trick, but that is not the manner of Zen. My miracle is that when I feel hungry I eat, and when I feel thirsty I drink.”
“I don’t think it’s necessary to be original. It’s necessary to be honest.”
Martin Creed: What’s the point of it? is the first major retrospective of Creed’s ingenious and often highly provocative work. Since the beginning of his career, when he made small objects that could be placed anywhere, Creed has made work that questions the very nature of art and challenges taboos. His work takes on a multitude of forms—from sculpture, paintings, neons, films and installations, to music and performance—appearing both in the art gallery and in broader public circulation. At once rigorous and humorous, his art continually surprises, disrupts and overturns our expectations. It reflects on the unease we face in making choices, the comfort we find in repetition, the desire to control, and the inevitable losses of control that shape existence.
Martin Creed Work No. 88 1995 A sheet of A4 paper crumpled into a ball.
