A Quote by Jean Dubuffet

I have always directed my attempts at the figurative representation of objects by way of summary and not very descriptive brushstrokes, diverging greatly from the real objective measurements of things, and this has led many people to talk about childish drawing.. ..this position of seeing them (the objects) without looking at them too much, without focussing more attention on them than any ordinary man would in normal everyday life..
When you talk about objects, one other thing automatically comes attached to that thing, and that is gestures: how we manipulate these objects, how we use these objects in everyday life. We use gestures not only to interact with these objects, but we also use them to interact with each other.
There is nothing more terrible, I learned, than having to face the objects of a dead man. Things are inert: that have meaning only in function of the life that makes use of them. When that life ends, the things change, even though they remain the same. […] they say something to us, standing there not as objects but as remnants of thought, of consciousness, emblems of the solitude in which a man comes to make decisions about himself.
Being a sculptor who uses found objects, all the objects I use in my work have been designed by other people. So I'm tweaking them in some way by squashing them or throwing them off cliffs! Then I formalise my damage by suspending them or arranging them in some kind of way. So I'm using other people's design in a way, so I'm an 'un-maker.'
...man is an analogist, and studies relations in all objects. He is placed in the center of beings, and a ray of relation passes from every other being to him. And neither can man be understood without these objects, nor these objects without man.
People habituate themselves to let things pass through their minds, as one may speak, rather than to think of them. Thus by use they become satisfied merely with seeing what is said, without going any further. Review and attention, and even forming a judgment, becomes fatigue; and to lay anything before them that requires it, is putting them quite out of their way.
There is a quality of murky grandeur we give ourselves in having our own feelings, recoiling, separate from other things... To feel that we can care for ourselves without seeing our feelings as objects, and liking them as objects, is to be wrong about our care for ourselves.
My pictures are devoid of objects; like objects, they are themselves objects. This means that they are devoid of content, significance or meaning, like objects or trees, animals, people or days, all of which are there without a reason, without a function and without a purpose. This is the quality that counts. Even so, there are good and bad pictures.
Size, perspective- large objects, when you make them too 3D, you dimensionalize them too much, they appear tiny, so you have to be careful about things like that.
Objects exist and if one pays more attention to them than to people, it is precisely because they exist more than the people. Dead objects are still alive. Living people are often already dead.
In trying to become 'objective,' Western culture made 'objects' of things and people when it distanced itself from them, thereby losing 'touch' with them.
Perception without the perceiver in meditation is to commune with the height and depth of the immense. This perception is entirely different from seeing an object without an observer, because in the perception of meditation there is no object and therefore no experience. can, however, take place when the eyes are open and one is surrounded by objects of every kind. But then these objects have no importance at all. One sees them but there is no process of recognition, which means there is no experiencing.
They walked on, without knowing in what direction. There was too much to be thought, and felt, and said, for attention to any other objects.
We need to empower all women, both financially and socially, to give them the tools to support themselves and their families. We need to start seeing them as contributors to society, as assets, not as objects of pity or, even worse, objects of shame.
Modernity means overabundance. We are living in the age of mass-produced objects, things that come without announcing themselves and end up on our tables, on our walls. We use them - most of us don't even notice them - and then they vanish without fanfare.
It has long been known to me that certain objects want you as much as you want them. These are the ones that become important, the objects that you hold dear. The others fade from your life entirely. You wanted them, but they did not want you in return.
A painting of a person can be descriptive, but for me it's about all the things that make up a picture - the feelings, the brushstrokes - more than describing somebody. People latch on to the personalities when they talk about my work and forget the other parts.
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