A Quote by Mark Kingwell
Concrete is momentarily unformed matter seeking its natural completion, filling in the last corners of its allowed space, finding a form. It is possibility rendered material, hope in an industrial-strength mixer.
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I like unformed characters. This may be because, no matter how old I get, I am still unformed myself.
I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct.
Looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. The energy and space around a material are as important as the energy and space within. The weather--rain, sun, snow, hail, mist, calm--is that external space made visible. When I touch a rock, I am touching and working the space around it. It is not independent of its surroundings, and the way it sits tells how it came to be there.
Pleasured equally In seeking as in finding, Each detail minding, Old Walt went seeking And finding.
Can space break? I mean the space of art galleries. Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.
When we sit down to meditate, we connect with something unconditional - a state of mind, a basic environment that does not grasp or reject anything. Meditation is probably the only activity that doesn't add anything to the picture. Everything is allowed to come and go without further embellishment. Meditation is a totally nonviolent, non aggressive occupation. Not filling the space, allowing for the possibility of connecting with unconditional openness - this provides the basis for real change.
The edifice of science not only requires material, but also a plan. Without the material, the plan alone is but a castle in the air-a mere possibility; whilst the material without a plan is but useless matter.
You don't restore 'The Last Supper' by filling in the missing bits - you preserve. You accept the material that has somehow survived.
Everything except God has some natural superior; everything except unformed matter has some natural inferior.
I frequently compose out the entire metric structure of a piece in modified cyclic form, where each cyclic revolution undergoes some form of 'variation' much as if measure lengths were concrete musical 'material.'
The ideas keep going, you have the material, you cut because there's a limit to the space allowed to you. And the space is limited because of some other constraints that have to do with money or printing or whatever.
Fiction stymies me with its possibility. I can't see the bottom and I freeze, cling to the side, or just choke. In nonfiction, particularly that which takes personal narrative for its primary topic, I have a finite space and a finite amount of material. I can't fabricate material, I can only shape and burrow into it.
It is not the material which gives life form but the space between the material that gives life form.
I hold that space cannot be curved, for the simple reason that it can have no properties. It might as well be said that God has properties. He has not, but only attributes and these are of our own making. Of properties we can only speak when dealing with matter filling the space. To say that in the presence of large bodies space becomes curved is equivalent to stating that something can act upon nothing. I, for one, refuse to subscribe to such a view.
Letting the last breath come.
Letting the last breath go.
Dissolving, dissolving into vast space,
the light body released from its heavier form.
A sense of connectedness with all that is,
all sense of separation dissolved
in the vastness of being.
Each breath melting into space
as though it were the last.
The way I understand composition and form and my ability to enter into material all comes from my disciplines and my commitment as a painter - my energy, my arm, my eyes, my sense of space and form and time. It's a wonderful realm for me. I never leave it.
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