A Quote by Deepti Naval
I put my thoughts through my work - be it painting, or simply writing.
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I see no thread running through my work; I simply get on with my life and my painting.
The artist has the power to signoff the work by deconstructing the work itself: I've finished this work now and I'll sign it and relegate the painting to simply something that services my signature. The painting becomes the colorful backdrop of the signature.
Inquiry appears to be a process of thinking, but actually it's a way to undo thinking. Thoughts lose their power over us when we realize that they simply appear in the mind. They're not personal. Through The Work, instead of escaping or suppressing our
thoughts, we learn to meet them with unconditional love and understanding.
While you're meditating, all kinds of thoughts arise... You don't find your thoughts threatening or particularly helpful. They just become the general gossip of your thoughts. This traffic of your thoughts and the verbosity of your mind are simply part of the basic chatter that goes on in the universe. Just let it go through.
Writing a short story is like painting a picture on the head of a pin. And just getting everything to fit is - sometimes seems impossible. Writing a novel, though, is - has its own challenges of scope. And I think of that as painting a mural, where the challenge is that if you are close enough to work on it, you're too close to see the whole thing.
Writing must be a machine for breaking down, that is, allowing the now uncontrolled and uncontrollable reconstitutions of thoughts and expressions. All other kinds of writing simply express.
Everything I've ever felt, but could never put into words, is poetically orchestrated through Mat Devine 's writing. In a lonely world, a book like this will make you feel like you belong. Simply put, Weird War One changed my life.
I simply think things through, and I look at problems. One thing I pride myself on is the ability to connect unconnected thoughts and come up with new, unique thoughts.
When I used to teach writing, what I would tell my playwriting students is that while you're writing your plays, you're also writing the playwright. You're developing yourself as a persona, as a public persona. It's going to be partly exposed through the writing itself and partly created by all the paraphernalia that attaches itself to writing. But you aren't simply an invisible being or your own private being at work. You're kind of a public figure, as well.
"Good" people are those who don't hold in the thoughts, but find proper outlets like writing, painting, music, etc.
I like to write about painting because I think visually. I see my writing as blocks of color before it forms itself. I think I also care about painting because I'm not musical. Painting to me is not a metaphor for writing, but something people do that can never be reduced to words.
At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.
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.
Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
The only way to get change is not through the courts or - heaven forbid - the politicians, but through a change of human consciousness and through a change of heart. Only through the arts - music, poetry, dance, painting, writing - "can we really reach each other.
There's something immediate about the experience of reading a poem. It makes sense in my own mind, but I'm trying to figure out a way to articulate it... It's like looking at a painting: you're able to take in the totality of the work all at once, and so processing whatever information that painting is giving you is almost secondary to simply apprehending what's in front of you.
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