A Quote by Erin Morgenstern

Sometimes I write what I can't paint, and I paint what I can't write. I use a different part of the brain. — © Erin Morgenstern
Sometimes I write what I can't paint, and I paint what I can't write. I use a different part of the brain.
Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.
I paint very messy. I throw paint around. So when I let myself do the same sort of thing with my writing, and I would just write and write and write and revise, that's when I found my rhythm in writing.
If you paint, write, do mosaics, knit - if it's solving that part of your brain saying, 'I need to do this,' you've won.
I don't write just to be clever. But sometimes I do. And if you don't have an understanding of the language, then the way in which it's bent doesn't actually register. It's the old you-gotta-paint-like-them-before-you-can-paint-like-you thing.
The old, sad art colors are gone. Now I paint bright colors. I paint paintings which are happy, where children are laughing and playing with animals. I paint paradise on Earth. I still paint sadness sometimes, but there is sadness in the world, too.
The paint for the grey paintings was mixed beforehand and then applied with different implements - sometimes a roller, sometimes a brush. It was only after painting them that I sometimes felt that the grey was not yet satisfactory and that another layer of paint was needed.
Sometimes I seem to be two people. One who does not paint and one who does. The one who does not paint assumes that the one who does can paint anything. The one who is the painter sometimes finds it difficult to live up to that faith.
I write non-fiction quicker, and I write it on a computer. Fiction I write longhand, and that helps make it clear that it comes from a slightly different part of the brain, I think.
Painters paint outdoors, or in rooms full of people; they paint their lovers, alone, naked; they paint and eat; they paint and listen to the radio. It is a soothing way of doing your job.
When you write a novel or paint a picture, you have the opportunity to approach it and back off, tear up pages, write, rewrite, paint over, and come back to it. In film, once you start shooting, you can't restart the clock, and you keep moving forward, and you don't look back, and you don't go back. And that is, of course, antithetical to the creative process. It's really hard to generate a comfortable creative flow under that kind of pressure.
I think we're in an age where artists really have an incredible range of materials at their command now. They can use almost anything from household items - Jackson Pollock used house paint - to, you know, advanced computer systems, to good old oil paint and acrylic paint.
I would say - and paint doesn't peel unless it's acrylic paint, so maybe it is acrylic paint that they're using, not oil paint. So let me say yes, it would be acrylic house paint, which, when it dries, peels very nicely. So let's go with that.
Sometimes I just want to sit and write at a clean table and not get paint all over my hands.
Clive Barker is just genius, and he's incredibly gifted in so many different ways. He can write and direct and paint and do all these different things, and he can do them all extremely well.
Some paint comes across directly onto the nervous system and other paint tells you the story in a long diatribe through the brain.
I paint in acrylic and sometimes in oil. Sometimes I'll paint my kids. And I'll occasionally do some photography.
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