A Quote by Jay Maisel
Gesture will survive whatever kind of light you have. Gesture can triumph over anything because of its narrative content.
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For one thing, I want gesture-any kind of gesture, all kinds of gesture-gentle or brutal, joyous or tragic; the gesture of space soaring, sinking, streaming, whirling; the gestures of light flowing or spurting through color. I see everything as possessing or possessed by gesture. I've often thought of my paintings as having an axis around which everything revolves.
Light gesture and color of the key compliments of any photograph. Light and color are obvious, but it is just her that is the most important. There is gesture in everything. It's up to you to find a gesture that is most telling.
My work is not so overtly about movement. My horses' gestures are really quite quiet, because real horses move so much better than I could pretend to make things move. For the pieces I make, the gesture is really more within the body, it's like an internalized gesture, which is more about the content, the state of mind or of being at a given instant. And so it's more like a painting...the gesture and the movement is all pretty much contained within the body.
I actually started to think a lot about the difference between a creative gesture and a noncreative gesture. I decided that all gestures were creative. Because you always have to make a decision at some point.
Every important cultural gesture comes down to a morality, a model for human behavior concentrated into a gesture.
What you do for yourself, any gesture of kindness, any gesture of gentleness, any gesture of honesty and clear seeing toward yourself, will affect how you experience your world. In fact, it will transform how you experience the world. What you do for yourself, you’re doing for others, and what you do for others, you’re doing for yourself.
Each implementation of human effort, however minute the overall result may be, is summed up in the gesture of the sower - sometimes an awe-inspiring gesture.
We are not long-term beings. Not heroes of romances in many volumes. For one gesture, for one word alone, we shall make the effort. We openly admit: our creations will be temporary. We shall have this as our aim: a gesture.
If you have an idea, you have to move on it, to make a gesture. Drawing is an immediate way of articulating that idea - of making a gesture that is both physical and intellectual.
The big moment came when it was decided to paint...Just To Paint. The gesture on the canvas was a gesture of liberation, from Value- political, aesthetic, moral.
The gesture must be correct. If the gesture is correct, your mind really creates the reality of the figure, and it is not necessary to hang on all the rest [of the details].
A gesture cannot be regarded as the expression of an individual, as his creation (because no individual is capable of creating a fully original gesture, belonging to nobody else), nor can it even be regarded as that person's instrument; on the contrary, it is gestures that use us as their instruments, as their bearers and incarnations
You should draw not what the thing looks like, not even what it is, but what it is doing... Gesture has no precise edges, no forms. The forms are in the act of changing. Gesture is movement in space.
Morality's not practical. Morality's a gesture. A complicated gesture learnt from books.
What [Tulio Serafin] said that impressed me was: "When one wants to find a gesture, when you want to find how to act on stage, all you have to do is listen to the music. The composer has already seen to that." If you take the trouble to really listen with your soul and with your ears - and I say soul and ears because the mind must work, but not too much also - you will find every gesture there. And it is all true, you know.
The paintings are more about physicality and gesture than meditation. I'd compare it to playing scales on the Cello - each sound (pitch and intensity) depends on the manner in which you hold and apply the bow. The same goes for the gesture of applying paint to a surface.
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