Sentences with phrase «working under great pressure»

Our ward nurses, doctors and porters not only work under great pressure, but also have to suffer uniform pay scales that give back - office «HR executives» more than their frontline staff, who deal daily with life and death emergencies.

The hospitality internship candidates are expected to possess high levels of energy and enthusiasm to work under great pressure even at odd times at night.

Not exact matches

Darnold: Strengths: Size, patient in the pocket, takes what D gives, great at reading defenses, accurate, varies arm strength for different throws, good under pressure, mobile, mentally stable Weaknesses: release mechanics, turnovers, inconsistent decision - making, needs to work on deep ball

For example, Henderson is top of this category with an average of 2.3 clearances per game — this sounds great and it shows that Henderson gets through a lot of work during a game but it also shows that Liverpool are under pressure a lot of the time meaning he's potentially more likely to make more clearances per game than say Arsenal's Jack Wilshere — with the Londoners dominating most games they play in.

His involvement in the third was more impressive, showing great work - rate and determination to sprint after a seemingly lost cause and put Hart under pressure as he came out to clear.

It's a great result for me, because my nails are always under pressure — I do embroidery art, I work with natural (and not always smooth) materials and I create displays all — the — time.

You are like me and work GREAT under pressure when I plan an outfit it does nt go accordingly but when I am in a hurry or pressed for time I pick something good, This dress looks much more exp than F21 so classy and gorgeous.

A soldier and police detective can both understand what it is like to work under pressure in great danger.

Plus size dating is attractive for men who love BBW, most of them are under great pressure of work and prefer to look for a plus size woman for fun and casual sex.

Possesses a great rapport with kids of all ages and works well under pressure.

Thriving Under Pressure is an opportunity to explore collectively the important inner work that enables us to pursue lives of greater meaning and satisfaction.»

I don't have a clue as to what transpires behind the scenes when it comes to developing a game, but I have to believe Ubisoft Montreal must've been under a great deal of pressure to get the game out after years and years of working on it.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the gGreater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the gGreater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the gGreater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, when the lesser is invested in its lesser relationship to the greatergreater.

This traditional way of life was under great pressure from industrialization, and it adds a bittersweet poignancy to these exquisitely executed works.

Climate scientists have done an admirable job pursuing their science under great political pressure, and they have tirelessly rebutted pseudoscientific arguments against their work.

«Climate scientists have done a great job in pursuing their science under great political pressure, and they have tirelessly rebutted pseudoscientific arguments against their work.

You're still not getting hydrostatic balance, it doesn't mean nothing is happening and you have to bring in another idea into the system to work out what will happen..., the adiabatic lapse rate will happen, because gases will become more dense and sink when cold and so will find themselves under great pressure at the surface where they will get compressed and heat up, and heated up they will become less dense and rise and in rising they will cool and in cooling they will become more dense and sink and so on.

As I have written previously, «rainmaker» partners are increasingly irrelevant in an industry where clients are under greater cost pressures and more actively rely on procurement to source legal work.

The «young, dynamic» team at Bryan Cave Leighton Paisner (Russia) LLP has «great commercial awareness», and is «able to work under pressure and meet tight deadlines».

She is recommended in the Chambers Guide to the Legal Profession («The absolutely fantastic Frances Judd QC is measured, hard working, and thoroughly prepared») and in the Legal 500 where she is described as being «calm under pressure, showing great empathy with clients».

If you do well in stressful situations and work effectively and efficiently through high demands, being your own boss will be a great path, but if you lose energy and panic under pressure, you will quickly realize owning your own company can be burdensome to yourself and those around you.

Does this company need a results - oriented worker who pays a great deal of attention to detail and can work under pressure?

Enthusiastic medical clerk with ten years experience in performing clerical duties within a health care facility and who possess a strong knowledge of medical office procedures; with great multi-tasking skills and with the ability to work under pressure

The Role involves: * leads generation * Sales: cold calling, field marketing, networking * developing a good understanding of clients, their industry, what they do, their work culture and environment * maintaining a great relationship with excisting clients * providing out of hours service for the branch's clients * account management * keeping company database up to date with candidates and client's information and bookings made * resourcing, reference checking and registering new candidates ensuring all legal requirements are met * developing and maintaining relationships with candidates * advertising vacancies and matching candidates to available positions * marketing candidates out to existing company clients * assisting with payroll The ideal candidate will have: * excellent customer service and sale skills * ability to manage and prioritize your own workload * excellent communication skills both verbal and written * positive attitude, ambition, high level of commitment to a job and drive to obtain set goals * ability to work under pressure in a fast paced environment * great people and problem solving skills * own transport Our Offer: * salary: # 18 000 - # 24 000 per annum * great commission structure * private health care after qualified period of service * employee perks & discounts from some of the UK's biggest brands If this position is for you, submit your CV today!

With ability of working under extreme pressure, great knowledge of treatment procedures and evaluation of preventive cures, I am seeking to work as a Dermatologist with a reputed healthcare institution to prove my abilities and to earn a long term career growth.

High level integrity with a great sense of urgency aimed at working successfully under pressure.

Worked for 78 hours every week and have great mental strength and determination and able to work well under pressure and in a constantly challenging environment.

* Minimum 2,500 hours of total flight time * Bachelor's degree preferred * Ability to work under pressure and meet scheduled deadlines * Excellent verbal and written communication skills * Strong and proven customer service skills * Great problem solver with ability to make good judgment calls

• Articulate and alert with a great capacity to take and deliver multiple orders simultaneously • Demonstrated ability to work well under pressure • Familiar with food quality control procedures • Exceptional communication skills • A courteous individual who is able to take the initiative • Well - versed with hygiene and sanitation standards

Pharmacy technicians, therefore, must be able to handle different types of customers, work with great precision under pressure and keep everything organized behind the counter.

As a mentioned during our discussion, I have a strong background in the field, and am excited by the opportunity to lend my years of experience to such a high - profile, cutting - edge company After meeting with you and learning about ZiffCorp «s future projects, I am confident that my ability to work under pressure and ability to assess problems will be a great help to your team.

The stage manger should be one who has great organizing capabilities, can work even under pressure work conditions and maintains interpersonal relationship with all staff members.

After meeting with you and learning about Widget Corp «s future projects, I am confident that my ability to work under pressure and team building skills will be a great help to your team.

After meeting with you and learning about Demo Company's future projects, I am confident that my ability to work under pressure and ability to mediate will be a great help to your team.

After meeting with you and learning about 123 Warehousing «s future projects, I am confident that my ability to work under pressure and team building skills will be a great help to your team.

«Strong exposure to Windows O / S and Internet «Ability to handle complex issues «TCP / IP, web stem administration «Effective communication skills «Great exposure in multi-tasking and ability to work under pressure «Strong knowledge in promoting and selling products and services «Unix (Solaris or Linux) or Windows NT / 2000 «Excellent communication skills «Customer - focused

Create this Resume Tomas Zaragoza (222)-445-72521754 Woodridge LaneMemphis, TN [email protected] Education: Master in Public AdministrationPennsylvania State University, University Park, PA B.S. in PsychologyPennsylvania State University, University Park, PA Skills: MS Word, Excel, Outlook, PowerPoint Strong communication skills Ability to work under pressure with great results Excellent client relationship skills Internet and email applications Professional Experience: -LSB-...] Continue Reading →

Job Objective: Seasoned technician with strong grasp in electronic, electrical and computer skills; Customer» oriented professional with high ability to adapt in new environment and can work under extreme pressure with still great results.

A highly motivated individual who has a great ability to multitask efficiently and work under pressure.

Create this Resume Chester Rosales1170 Kincheloe RoadSalem, OR 97301 (999)[email protected] Job Objective: Seasoned technician with strong grasp in electronic, electrical and computer skills; Customer» oriented professional with high ability to adapt in new environment and can work under extreme pressure with still great results.

For example, our resume sample also mentions «working well under pressure,» a great asset in a laboratory.

After meeting with you and learning about Sample, Inc's future projects, I am confident that my ability to work under pressure and teamwork skills will be a great help to your team.

After meeting with you and learning about Demo Company's future projects, I am confident that my ability to work under pressure and team building skills will be a great help to your team.

After meeting with you and learning about Widget Corp] ' s future projects, I am confident that my ability to work under pressure and team building skills] will be a great help to your team.

After meeting with you and learning about Virtucon «s future projects, I am confident that my ability to work under pressure and team building skills will be a great help to your team.

After meeting with you and learning about Widget Corp ' s future projects, I am confident that my ability to work under pressure and team building skills] will be a great help to your team.

SUMMARY OF QUALIFICATIONS: * Knowledge of Medical Terminology * Knowledge of human body and structures * Very Organized * Understanding of hand signals during surgery * Knowledge of Surgical Instruments * Scrubbing, gowning and gloving Surgeons Experienced with surgical procedures * Ability to Multi-Task and Prioritize * Ability to work great under pressure * Excellent Communication Skills * Expert in Robotic Technology (Da...

After meeting with you and learning about Smith and Co «s future projects, I am confident that my ability to work under pressure and ability to take initiative will be a great help to your team.

After meeting with you and learning aboutWidget Corp «s future projects, I am confident that my ability to work under pressure and team building skills will be a great help to your team.

After meeting with you and learning about Omni Consumer Products «future projects, I am confident that my ability to work under pressure and ability to work creatively will be a great help to your team.