A Quote by William Mortensen
If tone is granted to be subjected to control, why not line also, which has equal emotional significance? And if line, why not shapes and forms? And if shapes and forms, why not allow elision or emphasis of detail? And if all these things are allowed, what becomes of the record of actuality ?... Sunk without a trace!
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I can see forms and shapes in my mind when I solo, just as a painter can see forms and shapes when he starts painting. And I can see different colors.
Why should freedom of speech and freedom of press be allowed? Why should a government which is doing what it believes to be right allow itself to be criticized? It would not allow opposition by lethal weapons. Ideas are much more fatal things than guns. Why should any man be allowed to buy a printing press and disseminate pernicious opinions calculated to embarrass the government?
Rage is really only for the good days. The truth is there's little of that left. the truth is that the forms I see have been slowly emptied out. They no longer have any content. They are shapes only. A train, a wall, a world. Or a man. A thing dangling in senseless articulation in a howling void. No meaning to its life. Its words. Why would I seek the company of such a thing? Why?
If you imagine b, d, p, and q, those are letter forms that all the children always mess up. They are mirror forms of one another. That feature is emphasized in a font like Arial, where the shapes are literally mirror forms.
I'm interested in producing truncated shapes in proportion to the frame and composition, shapes that are preferably luminous. I'm not interested in the full-figure. I want to abstract forms.
Religion itself cannot but be dynamic which is why "return" is an incorrect term. A return to the forms of religion which perhaps existed a couple of centuries ago is absolutely impossible. On the contrary, in order to combat modern materialistic mores, as religion must, to fight nihilism and egotism, religion must also develop, must be flexible in its forms, and it must have a correlation with the cultural forms of the epoch.
One of the basic things about a string is that it can vibrate in many different shapes or forms, which gives music its beauty.
Sweet is the lore which Nature brings; Our meddling intellect Mis-shapes the beauteous forms of things: We murder to dissect.
Blade Runner appears regularly, two or three times a year in various shapes and forms of science fiction. It set the pace for what is essentially urban science fiction, urban future and it's why I've never re-visited that area because I feel I've done it.
The chemist, whose science is immediately concerned with the combinations of atoms, has rarely found it necessary to discuss their shapes, and gives them no particular forms in his diagrams. That does not mean that the shapes are unimportant, but rather that the older methods could not define them.
If you're naturally a certain size, I think it suits you and you can see that. There's no point in trying to conform for the sake of it. People are meant to be different shapes, and their different shapes are so interesting and, ultimately, why people fall in love with them.
There are many crooked lines and one straight line. Which is the line of truth? Why the straight line? Truth is always the shortest distance between two points.
This is not just a simple story of "money can't buy happiness." Or maybe that's just what it is. And if it is, why shouldn't it be? Because if this is something we are already supposed to know, then why don't we know it? Why do we chase and scrabble and fight for things to flaunt, why? Why do we reach for power over other people, and through the thin superiority of our possessions, believe we have it? Why do we let money make people bigger, and allow those without it to be made smaller? How did we lose the truth in the frantic, tribal drumbeat of more, more, more?
I always knew I was going to be an artist. It was a done deal right from when I was very little. It sounds like the dumbest thing ever, but my mom used to doodle when she was on the telephone and she made these - they weren't just little scribbles - these little shapes and forms. I don't know why she did it. I've never seen her do it again.
The things that people won't totally accept come in all shapes and sizes and forms, and I can relate to that in my own youth.
My idea of a perfect surrealist painting is one in which every detail is perfectly realistic, yet filled with a surrealistic, dreamlike mood. And the viewer himself can't understand why that mood exists, because there are no dripping watches or grotesque shapes as reference points. That is what I'm after: that mood which is apart from everyday life, the type of mood that one experiences at very special moments.
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