A Quote by Lori Earley
I don’t like to talk about what my paintings mean since they are so personal, so I like to leave it up to the viewer’s interpretation. It’s very strange to pour your heart out onto canvas and then put it on display for the whole world to see.
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I don't need to control the mind of my viewer. Now this might sound contradictory because I want to make these installations set up an environment that will produce a certain kind of experience in the viewer, but beyond a certain point, I take hands off and leave it up to chance and personal experience. So maybe it's a marriage of control and no control we're talking about where the artist produces the artifact or the environment and then walks away from it, and the second half of the equation is the viewer and their personal history and how they feel about what they're experiencing.
Your heart like a hawk-mouth in the sun, your heart like a ship on an atoll, your heart like a compass needle driven mad by a little piece of lead, like washing drying in the wind, like a whining of horses, like seed thrown to the birds, like an evening paper one has finished reading! Your heart is a charade that the whole world has guessed.
The angels don't care what words you use. They appreciate the engraved, fancy prayers, but they say, "Just talk to us." You can use ordinary language - the language you use when you talk with your best friend - when you ask for help. If you want to reach out to the angels for something very personal for yourself, you can say, "Dear guardian angels and archangels, I ask that you come to me now and help me resolve this problem or issue." And then you just pour out your heart to the angels. You can do it silently in your mind. You can say it out loud. You can write it.
Living your life 40 floors up, looking out every day on ocean and skies, you see the world from a different point of view. It's like living in a very interesting fishbowl, but since no one can see up here, it's like a fishbowl with a limo tint.
I didn't visit art galleries growing up. I didn't know anything about it. But at 17 I made the decision to leave home and explore. I've been using the Internet since I was 13, so I could see there was this whole world out there.
I have a deep-down belief that there are folks in the world who are good through and through, and others who came in mean and will go out mean. It's like coffee. Once it's roasted, it all looks brown. Until you pour hot water on it and see what comes out. Folks get into hot water, you see what comes out.
I mean, the way I'm talking, it sounds like I'm - you know, I'm about to go out and sign up for the nearest seminary, and you'll never see or hear from me again. But it's a hard thing to talk about really 'cause I'm not at all sure myself about it. But I've got a very, very simple sort of outlook to it. Yeah, that's all I can say, really.
I was at a restaurant, and I ordered a chicken sandwich, but I don't think the waitress understood me. She asked me, "How would you like your eggs?" I thought I would answer her anyway and said, "Incubated! And then raised, plucked, beheaded, cut up, put onto a grill, and then put onto a bun. Damn! I don't have that much time! Scrambled!"
I have been heart broken. You can't breathe, your eyes are pouring a thousand tears a second and you can't foresee going on with love because you never want to feel this way again. But then you have to look in the mirror and say 'Shut up, eat some ice cream, be by yourself for a while and think about who you are and who you want to be - then, go out and find someone compatible.' A broken heart feels like the worst thing in the whole world, but it really helps you decide what you want and don't want. You learn a lot from a broken heart.
The important thing is allowing the whole world to wake up. Part of allowing the whole world to wake up is recognizing that the whole world is free—everybody is free to be as they are. Until the whole world is free to agree with you or disagree with you, until you have given the freedom to everyone to like you or not like you, to love you or hate you, to see things as you see them or to see things differently—until you have given the whole world its freedom—you’ll never have your freedom.
I want the viewer to be overwhelmed. I want the space to feel like it is caving in on the viewer and that they are forcibly entering the world of my paintings. I want there to be a feeling of overpowering decadence to the work, that is almost too much to take. I don't want them to be subtle.
That's what I mean by something grips in a canvas. The moment that happens you are then sucked into the whole thing. Like some kind of rhythm.
No one ever gets to see Foley artists at work, and they're so strange. They see the world differently: things as things that might make sounds that sound like other things. They see the whole world that way - like when you're a house painter, all you see is a bunch of houses that need painting.
It's really an interesting crazy world where like ultimately you have to work your ass off and sacrifice a lot in your life and the end goal is personal and financial gain. You know, it's not like you're doing anything helpful to the world. You're really just trying to get ahead and to beat out the next person and to be on top and at the very top of those financial firms, like the people that make the crazy amounts of money I mean that's what their after.
There's a great temptation to throw things in, as you put it, that you think are neat, or that you have a very clear, specific memory of and think you could do a good job writing about. What I find is that it's like a seed you plant. You can try it, and if it will grow and connect with other ideas in the book, and you can see connections that you can actually realize on the page, then you're allowed to leave it in. But if it just kind of lies there and doesn't really add up to anything or there's no chemistry with everything else going on in the book, then you have to take it out.
Religions are institutions that push you up the mountain and then they have their fantasies about the spirit. I mean they try to make God like the human psyche and it's wrong. I mean it's a projection of the mind, and you can use it to get a start and then you must leave it behind.
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