A Quote by Charley Harper

When I look at a wildlife or nature subject, I dont see the feathers in the wings, I just count the wings. I see exciting shapes, color combinations, patterns, textures, fascinating behavior and endless possibilities for making interesting pictures. I regard the picture as an ecosystem in which all the elements are interrelated, interdependent, perfectly balanced, without trimming or unutilized parts; and herein lies the lure of the painting; in a world of chaos, the picture is one small rectangle in which the artist can create an ordered universe.
Without feathers it isn't easy to fly: my wings have got no feathers. [Lat., Sine pennis volare hau facilest: meae alae pennas non habent.] [Alt., Flying without feathers is not easy; my wings have no feathers.]
Possibilities are like the wings of birds; they allow man to soar and to climb to the heavens. And facts are like the atmosphere against which those wings must beat, and without which the soaring bird will surely plummet back to earth.
To speak of this subject you must... explain the nature of the resistance of the air, in the second the anatomy of the bird and its wings, in the third the method of working the wings in their various movements, in the fourth the power of the wings and the tail when the wings are not being moved and when the wind is favourable to serve as guide in various movements.
I never know if my picture is a good picture or a bad picture, because I'm not making pictures thinking of the public, I'm making pictures to realize myself.
If you want me to explain the picture, if you put it in reality, then the mystery goes away. The situation just catches you and you think it is absurd or mysterious and you just take the picture. You dont want to see the bare reality of what happened. I took the picture as the picture, not as the realistic story of what happened.
Go to nature with no parti pris. You should not know what your picture is to look like until it is done. Just see the picture that is coming.
I see the experience of pictures as a kind of cycle, a kind of circular motion in which you're in the world, then you enter the picture and you're in a different world (it's not the same as the one you live in, but recognizable as one you might live in). And then you're returned to your world with an enlarged sense of its possibilities.
If there is any method in the way I take pictures, I believe it lies in this: See the subject first. Do not try to force it to be a picture of this, that or the other thing. Stand apart from it. Then something will happen. The subject will reveal itself.
Painting seems to be to the eye what dancing is to the limbs. When that has educated the frame to self-possession, to nimbleness,to grace, the steps of the dancing-master are better forgotten; so painting teaches me the splendor of color and the expression of form, and as I see many pictures and higher genius in the art, I see the boundless opulence of the pencil, the indifferency in which the artist stands free to choose out of the possible forms.
What made me want to play guitar was that painting of Wings in concert in the gatefold of Wings Over America. It looked so exciting... I wanted to be part of it.
On the geometric level, we see certain physical elements repeated endlessly, combined in an almost endless variety of combinations. It is puzzling to realize that the elements, which seem like elementary building blocks, keep varying, and are different every time that they occur. If the elements are different every time that they occur, evidently then, it cannot be the elements themselves which are repeating in a building or town; these so-called elements cannot be the ultimate "atomic" constituents of space.
The systems of stereotypes may be the core of our personal tradition, the defenses of our position in society. They are an ordered more or less consistent picture of the world, to which our habits, our tastes, our capacities, our comforts and our hopes have adjusted themselves. They may not be a complete picture of the world, but they are a picture of a possible world to which we are adapted. In that world, people and things have their well-known places, and do certain expected things. We feel at home there. We fit in. We are members.
What we call music in our everyday language is only a miniature, which our intelligence has grasped from that music or harmony of the whole universe which is working behind everything, and which is the source and origin of nature. It is because of this that the wise of all ages have considered music to be a sacred art. For in music the seer can see the picture of the whole universe; and the wise can interpret the secret and nature of the working of the whole universe in the realm of music.
Many pictures turn out to be limp translations of the known world instead of vital objects which create an intrinsic world of their own. There is a vast difference between taking a picture and making a photograph.
You can also see sometimes that the best pictures are the ones where you didn't try so hard, where you were just enjoying the process - and you didn't even know why you were making the picture. It felt right. If someone asked, 'Why are you making this picture?' you probably couldn't describe it very well - and that's why it needs to be a photograph.
I have an idea that the only thing which makes it possible to regard this world we live in without disgust is the beauty which now and then men create out of the chaos. The pictures they paint, the music they compose, the books they write, and the lives they lead. Of all these the richest in beauty is the beautiful life. That is the perfect work of art.
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