James Turrell's skyspace at UT, the color inside

we visited Turrell’s UT skyspace last night ….it is an incredible demonstration of color relationships ….most primarily a collaboration w the ever-changing sky at sunset ….so lovely ….and on the night of the eclipse

on Wabi-Sabi, by Leonard Koren

Wabi-sabi suggests that beauty is a dynamic event that occurs between you and something else.

Wabi-sabi is exactly about the delicate balance between the pleasure we get from things and the pleasure we get from the freedom of things.

book_wabi-sabi_large.jpg

complexity in the commonplace

'People are a marvelous mystery to me.  I often see them in color; some are ruddy and some are silver gray.  They're moods in themselves.  To me everyone is as important as everyone else; everything is as important as everything else.  In some way a tree is just as important as a person, in its own life.'  -Andrew Wyeth, from Andrew Wyeth A Secret Life by Richard Merryman

Andrew Wyeth, Coot Hunter, 1941

Andrew Wyeth, Coot Hunter, 1941

Odilon Redon's Armor

this complicated image stays with me, I saw it a long time ago on a trip to the Met.  in it there is resoluteness . strength . a resignation?  ... the fascination of the spiked helmet ... but also the strange closeness . constriction . of the armor, it gives the drawing a silence.  

can you take on armor without it integrating, becoming a part of your person?, useful but not continuously shielding?

Odilon Redon, Armor, 1891, charcoal and conte crayon, 20x14.5"

Frederick Franck

'The good drawings I do are hardly mine.  Only the bad ones are mine for they are the ones where I can't let go, am caught in the Me-cramp ...

That which draws in SEEING/DRAWING is that which I really am, but which I cannot possibly define and label.  It simply defines itself by the way it draws.  SEEING/DRAWING therefore is an impossible effort as long as the ego tries to force it.  Once the ego lets go, it becomes effortless.

Emerson deflates the pseudo-originality the ego strains for: "What you are speaks so loudly, I can't hear what you say."  A Zen sage has said: "You are putting a head on top of the one you already have ..."

In the bad drawings the parts remain parts.  But good or bad, once a drawing is finished it should be forgotten.  After all, it is only a fossil of experience - a fossil, however, that at any time can be resurrected by any eye that is sufficiently awake to follow the lines as process, to sense that a DRAWING IS NOT A THING BUT AN ACT.'

- Frederick Franck's the Zen of Seeing  SEEING/DRAWING as meditation

Frederick Franck, from Moments of Seeing

Frederick Franck, from Moments of Seeing