A Quote by Ludwig Mies van der Rohe
We made drawings the size of a whole quarter of a room ceiling, which we would then send on to the model makers. I did this every day for two years. Even now I can draw cartouches with my eyes closed.
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The drawings that interest me most are made with closed eyes. With eyes closed, I feel my hand slide down on the paper. I have an image in mind, but the results always surprise me.
But every point of view is a point of blindness: it incapacitates us for every other point of view. From a certain point of view, the room in which I write has no door. I turn around. Now I see the door, but the room has no window. I look up. From this point of view, the room has no floor. I look down; it has no ceiling. By avoiding particular points of view we are able to have an intuition of the whole. The ideal for a Christian is to become holy, a word which derives from “whole.
Sometimes I draw with my left hand and I am pretty terrible. The drawings end up just looking like shakier/inconsistent (worse) versions of my right hand drawings. Sometimes I like drawing with my eyes closed.
I got a job as a dishwasher in Oakland, and I would draw all day. It was nice because the lady who ran the boardinghouse where I worked let me live there for nothing if I gave her some drawings every week - mostly park drawings of birds and such.
At that point it certainly would be called abstract. That is to say, you had a model and there'd be one or two or three people there drawing the model but otherwise you had abstractions all around the room, even though the model was in front of you.
We cannot always judge man for only one part of his attitude. If we did so, we would be like the Pharisees in whose eyes Jesus was seen as bad, because He did not respect their rules about the Sabbath. They closed their eyes entirely to what would have lovable in Jesus, even in their sight.
My parents danced together, her head on his chest. Both had their eyes closed. They seemed so perfectly content. If you can find someone like that, someone who you can hold and close your eyes to the world with, then you're lucky. Even if it only lasts for a minute or a day. The image of them gently swaying to the music is how I picture love in my mind even after all these years.
We are all a quarter good, a quarter bad, a quarter animal and a quarter child which equals a whole bunch of crazy.
...being Lulu, it made me realize that all my life I've been living in a small, square room, with no windows and no doors. And I was fine. I was happy, even. I thought. Then someone came along and showed me there was a door in the room. One that I'd never even seen before. Then he opened it for me. Held my hand as I walked through it. And for one perfect day, I was on the other side. I was somewhere else. Someone else. And then he was gone, and I was thrown back into my little room. And now, no matter what I do, I can't seem to find that door.
To my way of thinking, the concept drawings that Rembrandt did, the drawings he made that he used to model his artists, to work out the compositions of his paintings: those are cartoons. Look at his sketch for the return of the prodigal son. The expression on the angry younger brother's face. The head is down; the eyebrow is just one curved line over the eyes. It communicates in a very shorthand way. It's beautiful, expressive, and, in a peculiar way, it's more powerful than the kind of stilted, formalized expression in the final painting.
I was 39 when I did, essentially, a three-quarter sleeve on my left arm. It was very late in life, which is good: I can't think of any decision I made at 19 that I'd be happy with at 39 or even now, at 51.
I knew kids whose first car was one of those exclusive Range Rovers, where only two of that model would be made in the world. I would visit my friends' houses, and they'd be as big as this whole gym. And then I'd go home, and me and Justin would be sleeping together. On a pull-out couch.
I always did drawings. Then, few years ago, I started working with large-scale paper. It's an extension of performance, because the pieces are the size of my full body. I use pencils, acrylic, watercolors, and I also incorporate textual messages. I did most of them in a monastery in Spain at the top of a mountain. I lived there a bit like a monk. I meditate quite often. At night, which is when I like to work, I like to think I have conversations with Francisco Goya. He died so many years ago, of course, but somehow, his ghost is always with me.
I decided to sell my drawings. However, I didn't want people to buy my drawings because the professor of physics isn't supposed to be able to draw - isn't that wonderful - so I made up a false name.
Every disruptive innovation is powered by a simplifying technology, and then the technology has to get embedded in a different kind of a business model. The first two decades of digital computing were characterized by the huge mainframe computers that filled a whole room, and they had to be operated by PhD Computer Scientists. It took the engineers at IBM about four years to design these mainframe computers because there were no rules. It was an intuitive art and just by trial and error and experimentation they would evolve to a computer that worked.
Oh, yeah, I see the world differently now. Actually, when I first had the baby, I was breast-feeding him for two years straight. So we were together for two years of his life, every single day, all hours of the day. So I was two people, and I eventually morphed back into one.
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