A Quote by Martin Puryear

Although idea and form are ultimately paramount in my work, so too are chance, accident, and rawness. — © Martin Puryear
Although idea and form are ultimately paramount in my work, so too are chance, accident, and rawness.
Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or ‘dematerialized’
Pictures are the idea in visual or pictorial form; and the idea has to be legible, both in the individual picture and in the collective context - which presupposes, of course, that words are used to convey information about the idea and the context. However, none of this means that pictures function as illustrations of an idea: ultimately, they are the idea. Nor is the verbal formulation of the idea a translation of the visual: it simply bears a certain resemblance to the meaning of the idea. It is an interpretation, literally a reflection.
The creation of a virtual image is a form of accident. This explains why virtual reality is a cosmic accident. It's the accident of the real.
I'm trying to be really synced. It goes back to the idea that, ultimately, the reward is the work. The staying balanced, it requires you to know that the work you're doing right now is ultimately what is going to give you the sense of freedom that you're hoping to find in a more realized life.
Regarding pushing the form, ideas interest me more than form. I think you can write a very subversive play in a three-act structure. The content makes the play. I feel the form is simply dressing, because ultimately, you want to communicate to the audience, and sometimes the best way to do that is to present a provocative idea in a format that is comfortable for them to receive. Then the idea will come through directly, right in solar plexus. After all, I want to make a living as an artist, and that means speaking to the audience in a form they can understand.
What the work of art looks like isn't too important. It has to look like something if it has a physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned.
Ultimately, the idea of being able to escape and lose myself in a new world every time I go to 'work' was too appealing to ignore.
It has a lot to do with developing patience, not with the check-out person so much, but with your own pain that arises, the rawness and the vulnerability, and sending some kind of warmth and love to that rawness and soreness. I think that's how we have to practice.
When I would present my work as a student, often I would hear, "Your project is too formal" - it's too form-based; it's too form-driven. Which is kind of shocking for a visual practice, for someone to say something discouraging about a focus on an exploration of aesthetics.
Although usury is itself a form of credit in its bourgeoisified form, the form adapted to capital , in its pre-bourgeois form it is rather the expression of the lack of credit .
I wish I were brave, although I try. I work too hard and don't play enough. Too much work ethic, not enough 'fun'.
The idea that people would work on themselves, who hadn't had an accident - I can't stand plastic surgery.
Man who is he? Too bad, to be the work of God: Too good for the work of chance!
Man, who is he? Too bad, to be the work of God: Too good for the work of chance!
A CAUSE is an object precedent and contiguous to another, and so united with it that the idea of the one determines the mind to form the idea of the other, and the impression of the one to form a more lively idea of the other.
I'm sure I've been in an accident because I'm wild and crazy and go too fast, but I don't remember having an accident.
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