A Quote by Kimon Nicolaides
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.
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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.
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.
Nothing so clearly and inevitably reveals the inner man than movement and gesture. It is quite possible, if one chooses, to conceal and dissimulate behind words or paintings or statues or other forms of human expression, but the moment you move you stand revealed, for good or ill, for what you are.
The first gesture of an architect is to draw a perimeter; in other words, to separate the microclimate from the macro space outside. This in itself is a sacred act. Architecture in itself conveys this idea of limiting space. It's a limit between the finite and the infinite. From this point of view, all architecture is sacred.
When you watch a tea ceremony, every single movement, every single gesture is very calculated. It's very precise, and it's all protocol. It's all a part of the system. And it's almost like they've sacrificed every single thing to make that perfect. It's like their craft.
I'm not interested in edges. I'm interested in the mass and color, the black and white. The edges happen because the forms get as quiet as they can be. I want the masses to perform. When I work with forms and colors, I get the edge.
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 art is just an effort to express the truth of my being in gesture and movement. It has taken me long years to find even one absolutely true movement.
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.
Space seems broken and diverse because of the many forms in it. Remove the forms and pure space remains. So, too with the Omnipresent Self.
Every important cultural gesture comes down to a morality, a model for human behavior concentrated into a gesture.
Gesture will survive whatever kind of light you have. Gesture can triumph over anything because of its narrative content.
Vocal music is an attempt to take the whole human being and project it into space. It is the ultimate gesture of getting out of yourself. You take a part of you that is most private, most personal, most inward and you hurl it out into space - you project it as far as you can. That gesture of opining this whole region of the body results in an enormous spiritual release, and is felt by other people with tremendous impact.
The whole universe is one. There is only one Self in the universe, only One Existence, and that One Existence, when it passes through the forms of time, space, causation, is called by different names, buddhi, fine matter, gross matter, all mental and physical forms. Everything in the universe is that One, appearing in various forms. When a little part of it comes, as it were, into this network of time, space and causation, it takes forms. Take off the network, and it is all one.
There are three kinds of forms in the human figure: Ovoid forms - egg, ball and barrel masses; Column forms - cylinder, cone; Spatulate forms - box, slab and wedge blocks.
The gesture is the thing truly expressive of the individual - as we think so will we act.
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