A Quote by Jim Perrin
The artist Nature often achieves greatest effect when not working with a full palette.
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For, after all, in science one achieves the greatest impact (and often the greatest headlines) not by going along with the herd, but by bucking against it.
One begins by plaguing oneself to no purpose in order to be true to nature, and one concludes by working quietly from one's own palette alone, and then nature is the result.
The biographies of great artists make it abundantly clear that the creative urge is often so imperious that it battens on their humanity and yokes everything to the service of the work, even at the cost of health and ordinary human happiness. The unborn work in the psyche of the artist is a force of nature that achieves its end either with tyrannical might or with the subtle cunning of nature herself, quite regardless of the personal fate of the man who is its vehicle.
man is by nature designed to live in the polis, the highest form of koinonia, community; that is man's end or goal if he achieves the full potentiality of his nature.
Poetic effect is the peculiar effect of an utterance which achieves most of its relevance through a wide array of weak implicatures.
Working as a model liberated me from ever having to hold a day job. I transitioned from doing that to working full-time as an artist. If you're 19 and living cheap, being an artist model can sustain you.
The pause - that impressive silence, that eloquent silence, that geometrically progressive silence which often achieves a desired effect where no combination of words, howsoever felicitous, could accomplish it.
In effect, dividing your attention means that neither (or none) of the things you're working on is really getting the full effect of your intelligence, and that it in the end takes you longer than it would if you did one thing at a time.
A total spiritual direction given to the whole life and the whole nature can alone lift humanity beyond itself. . . It is only the full emergence of the soul, the full descent of the native light and power of the Spirit and the consequent replacement or transformation and uplifting of our insufficient mental and vital nature by a spiritual and supramental Supernature that can effect this evolutionary miracle.
Science ... has no consideration for ultimate purposes, any more than Nature has, but just as the latter occasionally achieves things of the greatest suitableness without intending to do so, so also true science, as the imitator of nature in ideas, will occasionally and in many ways further the usefulness and welfare of man,-but also without intending to do so.
Working a model liberated me from ever having to hold a day job. I transitioned from doing that to working full-time as an artist. If you're 19 and living cheap, being an artist model can sustain you. I dropped out of college at 21 and my illustration hadn't yet taken off. It is more than working in a store. It is a hard way to make a living but you earn more than in a similarly unskilled job.
The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy , the motion and the other inner forces ... the modern artist is working with space and time , and expressing his feelings rather than illustrating.
That which achieves its effect by accident is not art.
Chaos often fosters the greatest creativity. Breakdowns often precede the greatest breakthroughs. And when the pain is greatest is often when we're on the brink of the greatest realization.....When the pain is burned through rather than numbed, when our darkness is brought to light and then forgiven, then and only then can we move on. And move on we do.
It is often we come the closest to the essence of an artist... in his or her pocket notebooks and travel sketchbooks... where written comments and personal notes provide an intimate insight into the magical mind of a working artist.
The way 'Lux' was made is that there are 12 sections in here, though two of them are joined together. So there are really 11 sections, in a sense, and each one uses five notes out of a palette of seven notes, and my palette is all the white notes on the piano. That was the original palette.
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