A Quote by Cass McCombs
I think a master craftsman is someone who is unpretentious. He has a physical object in front of him and, while he works with a higher aim, he doesn't let his personality get in the way of his art. It's simply about the task at hand and to make it as functional and necessary to the world as he can.
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Art is a severe business; most serious when employed in grand and sacred objects. The artist stands higher than art, higher than the object. He uses art for his purposes, and deals with the object after his own fashion.
Man is a spiritual being, a soul, and at some period of his life everyone is possessed with an irresistible desire to know his relationship to the Infinite. . . . There is something within him which urges him to rise above himself, to control his environment, to master the body and all things physical and live in a higher and more beautiful world.
The reverence that the object maker has for the materials, for the shape, and for the miracle of his skill transcends to God, the Master Craftsman, the Creator of all things, who uses us, our hands, as His tools to make these beautiful things.
The master in the art of living makes little distinction between his work and his play, his labor and his leisure, his mind and his body, his information and his recreation, his love and his religion. He hardly knows which is which. He simply pursues his vision of excellence at whatever he does, leaving others to decide whether he is working or playing. To him he's always doing both.
If the nature of the work is properly appreciated and applied, it will stand in the same relation to the higher faculties as food is to the physical body. It nourishes and enlivens the higher man and urges him to produce the best he is capable of. It directs his freewill along the proper course and disciplines the animal in him into progressive channels. It furnishes an excellent background for man to display his scale of values and develop his personality.
That's the difference between the serious artist and the craftsman--the craftsman can take material and because of his abilities do a professional job of it. The serious artist, like Proust, is like an object caught by a wave and swept to shore. He's obsessed by his material; it's like a venom working in his blood and the art is the antidote.
Some would define a servant like this: 'A servant is one who finds out what his master wants him to do, and then he does it.' The human concept of a servant is that a servant goes to the master and says, 'Master, what do you want me to do?' The master tells him, and the servant goes off BY HIMSELF and does it. That is not the biblical concept of a servant of God. Being a servant of God is different from being a servant of a human master. A servant of a human master works FOR his master. God, however, works THROUGH His servants.
Belief is one of the most powerful organic forces in the multiverse. It may not be able to move mountains, exactly. But it can create someone who can. People get exactly the wrong idea about belief. They think it works back to front. They think the sequence is, first object, then belief. In fact, it works the other way.
The difference between the novice and the master is simply that the novice has not learnt, yet, how to do things in such a way that he can afford to make small mistakes. The master knows that the sequence of his actions will always allow him to cover his mistakes a little further down the line. It is this simple but essential knowledge which gives the work of a master carpenter its wonderful, smooth, relaxed, and almost unconcerned simplicity.
The physical world is the point of departure from whence the magician works and upon which every human being, initiated or not, live and moves through his senses, his spirit, his soul and his physical body.
The psychotherapist learns little or nothing from his successes. They mainly confirm him in his mistakes, while his failures, on the other hand, are priceless experiences in that they not only open up the way to a deeper truth, but force him to change his views and methods.
The real master is only a presence. He has no intentions of being a master. His presence is his teaching. His love is his message. Every gesture of his hand is pointing to the moon. And this whole thing is not being done, it is a happening. The master is not a doer. He has learned the greatest secret of life: let-go. The master has drowned his ego and the idea of separation from existence itself.
In the long-run the workman may be as necessary to his master as his master is to him, but the necessity is not so immediate.
Man's main task in life is to give birth to himself, to become what he potentially is. The most important product of his effort is his own personality. One can judge objectively to what extent a person has succeeded in his task, to what degree he has realized his potentialities. If he has failed in his task, one can recognize this failure and judge it for what it is - a moral failure.
In common with other artists the photographer wants his finished print to convey to others his own response to his subject. In the fulfillment of this aim, his greatest asset is the directness of the process he employs. But this advantage can only be retained if he simplifies his equipment and technic to the minimum necessary, and keeps his approach from from all formula, art-dogma, rules and taboos. Only then can he be free to put his photographic sight to use in discovering and revealing the nature of the world he lives in.
Man is concentric: you have to take fold after fold off of him before you get to the centre of his personality. You must get below his animal nature, habits, customs, affections, daily life, and sometimes go away down into the heart of the man, before you know what is really in him. But when you get into the last core of these concentric rings of personality you find a sense of the infinite-a consciousness of immortality linked to something higher and better.
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