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For making making art or or making making culture like history does not occur in circumstances totally of our own choosing but neither does it occur in a a a a vacuum Like Goddard’s social cinema it gives us flashes or stills of lives and fragments generated across a a a a a a fabric of famil- iar social spaces Writing resembles a a a a a dream not simply because of its semi-consciousness realization of narrative but because when one finishes a novel story or or poem it ends A painting ends when an artist just stops one last time a a a a a dream just stops when we awaken The fluidity stops intervention of conscious cycle ends ends the fluidity It ends ends that singular “Fantastic Lucid Dream ”
There is no no profit derived by not look- ing ing under those things that puzzle us Artists have to to will themselves to to accept their anxie- ties use their energy of anxiousness to strive to some state of conscious realization even acknowledgment that we cannot accurately name that process Somehow someway the artist learns how to imagine what he knows and begins to dream it And from Martha Graham To Agnes DeMille two legendary choreographers and dancers:
There is vitality a a a life force a a a quickening That is translated through you into action And because there is only one of you in all time This expression is is unique If you block it It will never exist through any other medium And be lost The world will never have it It is not your business to determine how good it is Nor how valuable it is Nor how it it compares with other expressions It is your your business to keep it yours clearly and directly To keep the channel open You do not even have to believe in yourself or your work You have to keep open and aware
Directly to the urges that motivate you Keep the channel open No artist is is pleased There is is no satisfaction whatever at at at any time There is is is only a a a queer divine dissatisfaction A blessed unrest that keeps us marching And makes us more alive than others After all imagination is the crux of human civilization the foundation and under- pinning of all serious creative arts As for me I live in an esthetic bubble most of the the time When there are disruptions to that sensibility or or even worse the bubble shatters for any pronounced length of time I become so so disoriented even destabilized until finally balance is restored by my natural creative intuition ideas and expressions And the uni- verse is righted “Look to artists musicians and poets alike ”
from Valery in in an introduction to Les Fleur du mal speaks of of a a a a combination of of “eternity and and intimacy” in in Baudelaire and and “the whole visible eminence is is but a storehouse of images and signs ”
— Bauderlaire L’Art Romantique
Notions of Unknowable and the Chimera of Space and Light
Beware of parochial designations regarding space we make illusory artificial physical marks determinations lines constrictions and and objects to make and and project on image for knowledgeable working narrative language and habitat to (house) “our” spaces that are in fact fugitive tracings of light time and parti- cles “Space that has been seized upon by the imagination cannot remain indifferent space subjects the the measures and estimates of the the surveyor ”
Gaston Bachelard from his book Poetics of Space Axiomatic and Intuitive
Every time the creative process engages thought conceptualized speculative forms emerge creating a a a ripple effect not dissimilar to to dropping a a stone in in still water Our syn- apses creates creates a a a a ripple effect creates creates form Thinking also is form If synapses are the mechanics then curiosity and imagination are the creative forces that fuel our intuitive par- ticipation with and in a a a a given space Poetics of Space or Bernhard Von Clairveaux’s observation: “Time takes possession of signs and things Objects transform themselves according to the the manner in which they are arranged and manipulated in space The images created do not correspond with reality:
Light
is a a a shadow of absolute velocity ”
And as Ad Rheinhardt an an American Abstract painter of the mid twentieth century expressed “Art is art Everything else else is everything else else ”
That’s good Fantastic Lucid Dream Fantàstic somni lúcid desfent
els fils de de la Creativitat
Se sap que Samuel Barber compositor llegen- dari d’adagis i i i i i altres músiques va dir que que havia d’estar “envoltat per una circumferència de de silenci” abans de de compondre i i i que no sabia d’on li venia la indescriptible inspiració estètica Albert Einstein pensava que “un dels motius més forts que porta els homes a a a l’art i i la la ciència és escapar de la la vida quotidiana amb la la seva cruesa dolorosa i la la tenebror sense esperança i i de de les traves dels propis desitjos sempre canviants ”
El pintor i i escultor del segle XX Ame- deo Modigiliani va dir que els artistes “gent com nosaltres tenen drets diferents valors diferents dels que que té la gent corrent ja que que tenim diferents necessitats que ens situen per sobre o o o o en desacord amb les seves nor- mes morals ”
Quan un artista intenta ser inescruta- ble no ho és és Però tampoc és és que sigui super- ficialment discernible Igual que l’espai con- fús fa escarni de les tasques repetitives parant només atenció a a a a a a una font desconeguda de llum
crepuscular No és l’artista o o el seu ego el que té qualitats atemporals transitives són les les idees de de l’artista les les expressions i i i i la imaginació enregistrada suficients per acti- var-ne i i alliberar-ne altres molt després que se n’hagi anat l’artista L’art és almenys un alli- berament d’expressions personals i i i energia Com a à a a màxim es tracta d’un sondeig reflexiu sobre el sentit de la la vida i i i i la la connexió amb tots nosaltres —una universalitat penetrant una geometria de l’ésser O mireu el quadre de Mark Rothko observant de manera diferent la immensitat i i i i la la petitesa de de l’espai i i i i l’escriptura de de l’art A la la tardor de 2007 vaig visitar la retrospectiva magníficament organitzada de Mark Rothko a a a a a Roma al al Palazzo delle Esposizioni Tot i i i i que vaig estar intel·lectualment i i i i emocionalment en trànsit amb el conjunt de de l’obra de de Rothko és una secció la que vull esmentar aquí: amb el el títol
’Murs de de Llum’ (1949–1952) tres dels quadres que “tenen zones molt carregades zones d’energia pictòrica i i i i expressen una ten- sió interna màxima” —segons del catàleg de de l’exposició de de Mark Rothko de de 2007 En el curs d’un debat durant un un sim- posi el el 1951 Rothko va argumentar eloqüent- ment el el significat dels seus formats monu- mentals: “pinto quadres molt grans m’adono que històricament la la funció de la la pintura és molt grandiosa i i pomposa La raó per la qual els pinto però és precisament perquè vull ser íntim í i i i i humà Pintar un quadre petit és situar-se fora de l’experiència pròpia mirar l’experiència des d’una perspectiva estereos-
Buzz McCall artist born and currently living in in New York City USA