A Quote by Agnes Martin
There's nobody living who couldn't stand all afternoon in front of a waterfall .... Anyone who can sit on a stone in a field awhile can see my painting. Nature is like parting a curtain, you go into it .... as you would cross an empty beach to look at the ocean.
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James loved Rhode Island, ... He loved the ocean. He would sit in his beach chair for hours and look out at the ocean.
We'd get right up and go straight to the beach for practice. Afterward, we'd leave on our wringing, dirty clothes and jump in the ocean. Then we'd leave them drying on the beach. That was our laundry break. Then, we'd play all afternoon.
If you want the answer to anything, go sit in Nature for awhile
There is life in a stone. Any stone that sits in a field or lies on a beach takes on the memory of that place. You can feel that stones have witnessed so many things.
Yes, I have a small coffee corner where I like to sit. It's right next to the windows and the power seat of the living area. When I sit there, I can see Bandra Reclamation in front of me.
Another thing I like to do is sit back and take in nature. To look at the birds, listen to their singing, go hiking, camping and jogging and running, walking along the beach, playing games and sometimes being alone with the great outdoors. It's very special to me.
When I go from hence, let this be my parting word, that what I have seen is unsurpassable. I have tasted of the hidden honey of this lotus that expands on the ocean of light, and thus I am blessed—let this be my parting word. In this playhouse of infinite forms I have had my play and here have I caught sight of him who is formless. My whole body and my limbs have thrilled with his touch who is beyond touch; and if the end comes here, let it come—let this be my parting word.
SOLOSHOT is such a brilliant idea and an athlete's dream. It has given me the ability to film myself training without anyone's help - it's perfect because I can go to the beach, set up my SOLOSHOT, and not have to rely on anyone to stand there and film me from the beach for hours.
Being in the studio, it's more of a controlled environment, where you can be Salvador Dali and sit back and look at the painting. And you can go, 'Ah, you know what? Maybe a little bit more red over here...maybe add some blue over here.' You can sit back and look at the painting.
For me, being alove it is being close to nature, either by the beach or near the ocean. When I look around and see how small I am in comparison to all that surrounds me, it fuels me.
I would never put a sculpture in front of a painting, so that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work.
Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.
Living like an empty shell is not really living, no matter how many years it may go on. The heart and flesh of an empty shell give birth to nothing more than the life of an empty shell.
We made part of the record in Miami, and I would go down to the beach, and not 20 feet from the water I see a fish that is at least seven feet long swimming close to the shore. I did not go back in the ocean the entire month.
When the wind is right and the cloud is gone, you can see down this road as far as Darjeeling," I told her. "But it is a long and difficult road, full of perils, and if a traveller on foot were to look at the length of it, his spirit would be overcome and he would sit down and refuse to go any further. You must not look to the end of the road, Portia. Look only to the step in front of you. That you can do. Just one step. And you will not make the journey alone.
Just the way you might look at a painting and see the painting, and the painting is outside you, so this immaterial intellect would see the forms and behold them, as if they were standing before it. And Plotinus said that that can't be right because it falls prey to sceptical objections.
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