A Quote by Francesca DiMattio

In the paintings I was always interested in taking elements of space and the reality that we know and dissolving it into patterns. — © Francesca DiMattio
In the paintings I was always interested in taking elements of space and the reality that we know and dissolving it into patterns.
I'm interested in the murky areas where there are no clear answers - or sometimes multiple answers. It's here that I try to imagine patterns or codes to make sense of the unknowns that keep us up at night. I'm also interested in the invisible space between people in communication; the space guided by translation and misinterpretation.
Letting the last breath come. Letting the last breath go. Dissolving, dissolving into vast space, the light body released from its heavier form. A sense of connectedness with all that is, all sense of separation dissolved in the vastness of being. Each breath melting into space as though it were the last.
There are only patterns. Patterns on top of patterns, patterns that affect other patterns, patterns hidden by patterns, patterns within patterns.
Within a Metaphysics of Quality, science is a set of static intellectual patterns describing this reality, but the patterns are not the reality they describe.
There are only patterns, patterns on top of patterns, patterns that affect other patterns. Patterns hidden by patterns. Patterns within patterns. If you watch close, history does nothing but repeat itself. What we call chaos is just patterns we haven't recognized. What we call random is just patterns we can't decipher. what we can't understand we call nonsense. What we can't read we call gibberish. There is no free will. There are no variables.
In music, what is very important is temporality of space and length, based on the breathing space the director gives the music within the film, by separating the music from various elements of reality, like noises, dialogues... That's how you treat music properly, but it doesn't always happen this way. Music is often blamed, but it's not its fault.
There are always patterns in everything, there are patterns in books, there are patterns in human behavior, there are patterns in success, there are patterns for everything in life. You just need to pay attention to them.
Every place is given its character by certain patterns of events that keep on happening there. These patterns of events are locked in with certain geometric patterns in the space. Indeed, each building and each town is ultimately made out of these patterns in the space, and out of nothing else; they are the atoms and molecules from which a building or a town is made.
It is possible to make buildings by stringing together patterns, in a rather loose way. A building made like this, is an assembly of patterns. It is not dense. It is not profound. But it is also possible to put patterns together in such a way that many patterns overlap in the same physical space: the building is very dense; it has many meanings captured in a small space; and through this density, it becomes profound.
I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
By means of the iconic, artists express their view of reality and show their understanding of the structure of reality. They see what they know and bring this into their paintings. ... They always give us more than the facts, more than the eye can see.
Complexity is looking at interacting elements and asking how they form patterns and how the patterns unfold. It's important to point out that the patterns may never be finished. They're open-ended. In standard science this hit some things that most scientists have a negative reaction to. Science doesn't like perpetual novelty.
Death is the moment of form dissolving. When that dissolving is not resisted, an opening appears into the dimension of the sacred, into the One formless, unmanifested Life. This is why death is such an incredible opportunity. There is no transformation of human consciousness without the dissolving that death brings.
Dali likes me taking his picture because he is interested in pictures that do not simply reproduce reality. Even in photos he prefers to appear outside reality .That is surrealistic!
There must be an open space in the paintings - an entry space for the viewer, or even for me. Just white space where you can get into it.
This site uses cookies to ensure you get the best experience. More info...
Got it!