A Quote by John Dyer
During the winter when the weather is too poor to work outside, I do use drawings and photographs, but I change my work so it is not just a time and place study.
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Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.
The biggest change I notice in the winter months is with my skin. I find all the cold weather and central heating leaves it feeling more dull, dry and easily irritated. So for me, finding little ways to make my skincare routine work harder is my winter beauty priority.
Whenever I am tired of making photographs of drawings, I make drawings of photographs.
The growth of trees and plants takes place so slowly that it is not easily seen. Daily we notice little change. But, in course of time, we see that a great change has taken place. So it is with grace. Sanctification is a progressive, lifelong work (Prov 4:18). It is an amazing work of God's grace and it is a work to be prayed for (Rom 8:27).
It's easy to stay in and work a lot. It's shitty weather, you don't go out and lay in the sun. That's a great thing to do - I love that, but in the summer I don't really get much done, because it's so nice to be outside. With the bad weather, you stay inside and dream. You create your own world, because you're not outside in the weather.
If you believe that how you do your work is as influential as the work you do, then a theatre rehearsal, which is a microcosm of the world, is the perfect place to model social change because if it doesn't work this time, you can try again on the next production.
To those who say climate change is not caused by human activity or that addressing it will harm the economy, let's encourage them to go to college, too, and to study physics and to study economics, but for the rest of us, let's get to work.
I live in a very, very quiet place. I have a sequence to my creative life. In spring and fall, I am above ground and commit to community. In the summer, I'm outside. It is a time for family. And in the winter, I am underground. Home. This is when I do my work as a writer - in hibernation. I write with the bears.
I like the drawings. And as a photography fan myself, I would look at Helmut Newton or Irving Penn and like to see the initial notes or drawings, to see where the ideas grew from. Also my sketches are key to my work because I came to realise early on that by doing drawings, I could formulate a plan of what I was thinking of - I could take control and direct the work.
A recent study shows that standing at work for long periods of time is bad for you, after earlier research indicated that sitting for too long at work is bad for you. So really the only thing we know is, work is bad for you.
In my work, I'm always trying not to put barriers up between the 'good poor' and the 'bad poor.' I'm not sure my work will change things much, but at the very least, you want to make people feel that they are not alone.
I never had any intention nor interest in being an artist, but when I made work I realized that this was my language. What I had to say needed to be said in this way. I always loved taking photographs - but never considered myself a photographer. I have tremendous respect for photographers. I do use a camera and a photo as a basis for a lot of my work, but I use it as a means to attain an image to work from. The actual photography in my work is a monochromatic photograph. I'll photograph something and extract a color that will then be the background for a painting.
I just know that I could never spend a winter in Chicago or some place like that. I'm just not a cold weather person.
All my work begins with drawings. I don’t labor over my drawings. I want to get freedom in the line. I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.
I just know that I could never spend a winter in Chicago or some place like that. Im just not a cold weather person.
In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.
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