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| 4 Square Mountain | Bories |
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| Bridge | Chinook |
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| Cipriano's Mulberry | Geology III |
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| Hillock & Three Trees | Landscape |
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| Map | Mulberry Kiln |
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| Palmer | Ridge |
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| Siskiyou Rain VII | Striped Ridge |
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| Two Dotted Landscapes | |
I have nothing to
say and I'm saying it.
—
JOHN CAGE
An artist cannot
speak about his art any more than a plant can discuss horticulture.
— JEAN COCTEAU
Frank Zappa is most often credited
with saying, “Writing about music is like dancing about architecture.”
I find it difficult to say very much
about what I do and yet, at the same time, I may blather on at length about
influences and connections that seem to only tangentially relate.
It’s like seeing in the dark, the periphery is where the information
is.
Art to me is the books I
read, the music I listen to. It’s the paintings I look at, the food I eat and the ridge
I hike along.
Art is the only twin that life
has.
—
CHARLES OLSON
Everything is interwoven in such a
way that any one piece cannot be pulled out and made sense of.
I think that’s true at just about every scale.
Nothing operates in a vacuum. I
think our Western mind has been trained to pull things apart but we keep coming
back to the realization that things are integrated in surprising ways.
The Tao of Physics. I
expect the folks in the East probably think we’re a bit slow for finally
getting around (or back) to this concept.
Qualities that are appreciated as ‘advanced’ in American Abstract Expressionism have been applied for centuries in Eastern art: gestural methods; … calligraphic imagery, free linearism, and aggressive or rapid brushwork; highly asymmetrical compositions…; atmospheric or flat fields of color; a spontaneous approach to art-making that includes the acceptance of accidental effects; and the notion of the act of painting as a self-revelatory event…
— JEFFREY WECHSLER in Asian Traditions
I remember what a thrill it was to
first pick up a sumi brush. For me
it was like opening your mouth and finding you can sing.
All this thought, all this feeling, just flows out the end of your
fingers. It’s a way of tying all
of your various thoughts and influences together, a kind of funnel that brings
all of that thought down…through the brush and onto the paper. You start feeling, when it’s working right, like you are
dancing. It’s really wonderful.
When you start working
everybody is in your studio –
The
past, your friends, enemies, the art world,
And
above all, your own ideas – all are there.
But as
you continue painting, they start leaving, one by one,
And you
are left completely alone.
Then if
you’re lucky, even you leave.
— JOHN CAGE
When it works your hands are not your own.
You forget who you are.
There is nothing but the work in front of you.
It
feels a tremendous act of ego to put your name on it.
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