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Pearls from artists* # 145

 

"Stalemate," soft pastel on sandpaper, 38" x 58"

“Stalemate,” soft pastel on sandpaper, 38″ x 58″

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

It is a mistake for a sculptor or a painter to speak or write very often about his work.  It releases tension needed for his job.  By trying to express his aims with rounded-off logical exactness, he can easily become a theorist whose actual work is only a caged-in exposition of conceptions evolved in terms of logic and words. 

But though the nonlogical, instinctive, subconscious part of the mind must play its part in his work, he also has a conscious mind which is not inactive.  The artist works with a concentration of his whole personality, and the conscious part of it resolves conflicts, organizes memories, and prevents him from trying to walk in two directions at the same time.

Henry Moore:  Notes on Sculpture in The Creative Process, edited by Brewster Ghiselin

Comments are welcome!   

Pearls from artists* # 42

Balinese dancer

Balinese dancer

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Things-as-they-are offer such an abundance of material that a photographer must guard against the temptation of trying to do everything.  It is essential to cut from the raw material of life – to cut and cut, but to cut with discrimination.  While working, a photographer must reach a precise awareness of what he is trying to do.  Sometimes you have the feeling that you have already taken the strongest possible picture of a particular situation or scene; nevertheless, you find yourself compulsively shooting, because you cannot be sure in advance exactly how the situation, the scene is going to unfold.  You must stay with the scene, just in case elements of the situation shoot off from the core again.  At the same time, it’s essential to avoid shooting like a machine-gunner and burdening yourself with useless recordings which clutter your memory and spoil the exactness of the reportage as a whole.

Henri Cartier-Bresson in Images a la sauvette

Comments are welcome!

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