A Quote by Mark Alan Stamaty
Often the energy of a piece is more exciting to me than the subject.
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I often prefer the shapes within the raw materials to ‘do their thing’, as this makes it movre interesting for me. Sometimes a piece of hubcap fits in such a way that the shark becomes almost alive in my hands, climbing, twisting or just hanging motionless and predatory, and this gives me a buzz. It makes me feel like a vehicle for the creation process rather than a controller, and not knowing the exact outcome is exciting.
It always surprises me how much my followers appreciate how candid my photos are - they may not have a particularly unique subject, but it's more about the light you shed on the subject than the subject itself.
A photograph is just a tiny slice of a subject. A piece of them in a moment. It seems presumptuous to think you can get more than that.
When we work on a piece of music, we'll often read the biographies of the composer and learn about what was going on historically and artistically. But I believe that the connection to a piece of music is something much more personal and mysterious than all of these bits of information.
Love is an alchemist that can transmute poison into food--and a spaniel, that prefers even punishment from one hand to caresses from another. But it is in love as in war, we are often more indebted for our success to the weakness of the defence than to the energy of the attack; for mere idleness has ruined more women than passion; vanity more than idleness, and credulity more than either.
For more and more of us, home has really less to do with a piece of soil than, you could say, with a piece of soul. If somebody suddenly asks me, 'Where's your home?' I think about my sweetheart or my closest friends or the songs that travel with me wherever I happen to be.
For more and more of us, home has really less to do with a piece of soil than, you could say, with a piece of soul. If somebody suddenly asks me, "Where's your home?" I think about my sweetheart or my closest friends or the songs that travel with me wherever I happen to be.
I never sing a song more than twice because my fear of waning excitement for a piece is part of my troubles. I so rely on vibe, energy and emotions that the technical part occurs to me last.
I just have one of those faces. People come up to me and say, 'What's wrong?' Nothing. 'Well, it takes more energy to frown than it does to smile.' Yeah, you know it takes more energy to point that out than it does to leave me alone?
Investment ideas, like women are often more exciting than punctual.
Basically, when I'm writing something, I think about what is the subject of the piece. The subject of the piece is our fear of getting old, which is a variation on our fear of dying.
I think that the most significant, guiding principle was that we wanted to return to a three-piece live form, whereas we became a four-piece for the last record because the songs had more extensive arrangements and we needed a keyboard player to pull off a lot of those songs. We missed the energy, and more push-and-pull of the three-piece.
Now I know that this energy within me is seeking more than the mate or the profession or the religion - more even than pleasure or power or meaning. It is seeking more of me; or better, it is, thank God, releasing more of me.
When I teach a class I often give the assignment: Photograph someone you love. I ask people to do this so they have a subject about whom they have feelings, a subject that is more than a model, or an object, or a shape, or an idea. In this way, they can judge the result not only by its technical success, but also by how well it describes their feelings.
That's the most difficult issue for me... to find a subject that holds my interest long enough that I'm prepared to go to work and spend the time and energy to shoot the subject.
That's the most difficult issue for me - to find a subject that holds my interest long enough that I'm prepared to go to work and spend the time and energy to shoot the subject.
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