A Quote by Bridget Riley
I couldn’t get near what I wanted through seeing, recognizing and recreating, so I stood the problem on its head. I started studying squares, rectangles, triangles and the sensations they give rise to It is untrue that my work depends on any literary impulse or has any illustrative intention. The marks on the canvas are sole and essential agents in a series of relationships which form the structure of the painting.
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It is explained that all relationships require a little give and take. This is untrue. Any partnership demands that we give and give and give and at the last, as we flop into our graves exhausted, we are told that we didn't give enough.
I started modeling because I thought it would be a good stepping stone for what I was studying (marketing), but since I started it I never had any intention to fail.
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A series of powers are at work within the great stream of Expressionism who have no outward similarity to one another but a common direction of thrust, namely the intention to give expression to things of the psyche [Seelisches] through form alone.
It is the growth of advertising in this country which, more than any single element, has brought the American magazine to its present enviable position in points of literary, illustrative and mechanical excellence.
The path of compassion leads to the development of insight. But it doesn't work to say, "Ready, set, go! Be compassionate!" Beginning any practice depends on intention. Intention depends on intuiting-at least a little bit-the suffering inherent in the human condition and the pain we feel, and cause, when we act out of confusion. It also depends on trusting-at least a little bit-in the possibility of a contented, satisfied mind.
There is no solution to any world problem, to any national problem, to any city problem or to any local problem, unless and until people get their Realization.
I had no place in any coterie, or in any reciprocal self-advertising. I stood alone. I stood outside. I wanted only to learn. I wanted only to write better.
Synthetic or inorganic substances do not contain any 'life force'; they are not dynamic. Everything is made of chemicals, but organic substances like essential oils have a structure which only mother nature can put together. They have a life force, an additional impulse which can only be found in living things.
A lot of people who get into any art form have some form of mental..something in their head which is unstable
In truth a clear-headed physicalist shouldn't be thinking any of these dualist thoughts. If pains are one and the same as C-fibres firing, then there really isn't any possibility of having 'one' without the 'other'. Once you properly appreciates physicalism, this dissociation should cease to appear possible - C-fibres with pains should strike you as no more possible than squares without rectangles.
People think you can get out your canvas and paint any time you have a free moment. You can't. Commercial art and painting are entirely different. Painting takes a different mental approach. You have to get the right attitude, the right mood.
So worried was I that people would see through the painting into my soul - and guess at secret Alison stuff - that I scraped the paint off the canvas. It was too risky to expose what everyone hides...And yet isn't that the job of the artist? Next step is to take the risk - to work more deeply. To expose that which cannot be expressed any other way. That is art. Scary and exciting.
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Though I consider The Chronology of Water to be an anti-memoir for very precise reasons, it is an art form, and thus as open to "critique" as any other art form. Memoir has a form, formal strategies, issues of composition and craft, style, structure, all the elements of fiction or nonfiction or painting or music or what have you.
Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting.
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