A Quote by N.D. Wilson

The moon was up, painting the world silver, making things look just a little more alive. — © N.D. Wilson
The moon was up, painting the world silver, making things look just a little more alive.
In the night the cabbages catch at the moon, the leaves drip silver, the rows of cabbages are a series of little silver waterfalls in the moon.
Look around at the azaleas making fuchsia star bursts in spring; look at a full moon hanging silver in a black sky on a cold night. And realize that life is glorious, and that you have no business taking it for granted.
When you look at the Moon, you think, ‘I’m really small. What are my problems?’ It sets things into perspective. We should all look at the Moon a bit more often.
You learn different things through fiction. Historians are always making a plot about how certain things came to happen. Whereas a novelist looks at tiny little things and builds up a sort of map, like a painting, so that you see the shapes of things.
For me at age 11, I had a pair of binoculars and looked up to the moon, and the moon wasn't just bigger, it was better. There were mountains and valleys and craters and shadows. And it came alive.
Without perceiving things through the old filter of past conditioning and conceptualization, one can sense the universe is intensely alive. Even so-called inanimate objects - I often pick up little objects and just look at them and sense that they are alive. Physicists actually confirm that what we perceive as dead matter is not dead at all. Everything is an intensely alive energy field. That aliveness is only an aspect of the aliveness or life that I am.
The moon is so beautiful. It's a big silver dollar, flipped by God. And it landed scarred side up, see? So He made the world.
The moon, the moon, so silver and cold, Her fickle temper has oft been told, Now shade--now bright and sunny-- But of all the lunar things that change, The one that shows most fickle and strange, And takes the most eccentric range, Is the moon--so called--of honey!
Being in the studio, it's more of a controlled environment, where you can be Salvador Dali and sit back and look at the painting. And you can go, 'Ah, you know what? Maybe a little bit more red over here...maybe add some blue over here.' You can sit back and look at the painting.
I think a good painting or a good work of art does many things it wants, I mean, maybe 15 or 20 or 100. One of the things a painting does is to make the room look better. It improves the wall that it's on. Which is much harder than it looks. And that's a good thing. And if one engages with a painting on that level, that's fine, that's great. After some time, familiarity, the other things that a painting does, the other layers, they just start to make themselves felt.
I've been painting and making things since I was little.
I don't work from drawings and colour sketches into a final painting. Painting, I think, today - the more immediate, the more direct - the greater the possibilities of making a direct - of making a statement.
Realist painting has to do with leaving out a lot of detail. I think my painting can be a little shocking in all that it leaves out. But what happens is that the mind fills in what's missing . . . Painting is a way of making you see what I saw.
And the cat's in the cradle and the silver spoon Little boy blue and the man in the moon.
The motto I have penned on my knuckles is that this is the best world we have--because it's the only world we have. It's the simplest math ever. However many terrible, rankling, peeve-inducing things may occur, there are always libraries. And rain-falling-on-sea. And the moon. And love. There is always something to look back on, with satisfaction, or forward to, with joy. There is always a moment where you boggle at the world--at yourself--at the whole, unlikely, precarious business of being alive--and then start laughing
I think most people gain some sense of how to look at a painting, but no one ever teaches you how to look at a piece of silver.
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