I just came upon an old used copy of a book that I am very excited about. It is by a philosopher named Etienne Glison, a man I have never heard of, but wish I had discovered him years ago. He not only seems to see paintings in a way that it seems art critics never do, but he expresses an appreciation of still life paintings that is very rare indeed. He says that, because painting is, by its very nature, a still object, the most natural subject matter for it is objects that are still. He says, “…this is indeed a genre in which painting reveals its very essence and reaches one of its points of perfection.” (p.26) I couldn’t agree more!
These (geometric) relationships are fundamental to, basically, the structure of our consciousness. This is not something that we invented, this is something that we discovered. It’s intrinsic within the fabric of nature itself. And the proportions that we find that govern nature are also the proportions that govern our consciousness. And so, in effect, what Plato understood, and what everybody I think understood about it, that studied Sacred Geometry was, that in effect, it was a way of developing your consciousness as well.
-- Randall Carlson
A great deal can be overlooked and largely dismissed by not allowing oneself to look with a healthy distance from one's own fixed perspective. In this increasingly accelerated, disconnected world of often vapid and disposable content, which permeates, hijacks, and contaminates our every move, one needs to be still. To feel and look around inside one's own stillness.
-- Lawrence Carroll
“Art is faith. People preach of faith who have no idea what faith is. But artists know… The life of the artist is pure, pure faith.” -- Garrison Keillor
When Henri Matisse famously observed in the early 20th century, "Exactitude is not truth," he was addressing the issue of academic art such as that of James Tissot, Jean-Léon Gérôme, painters from the end of the 19th century, both now largely forgotten. He was not thinking about Geometric Design. Geometry is generally considered to be more truthful when it is more exact. I have no argument with that notion as it is engaged in architecture and decorative design, but in the last few years I've been engaged with questions of geometry in painting. Might Geometry be embraced as a structural element in paintings where its inherent exactitude is subsumed and brought into play on behalf of other, perhaps more expressive, goals?
We can very fittingly compare the nature of the soul to a very fine feather or very light wing. If it has not been damaged or affected by being spoiled by any moisture falling on it from outside, it is carried aloft almost naturally to the heights of heaven by the lightness of its nature, and the aid of the slightest breath. But if it is weighed down by any moisture falling on it and penetrating into it, it will not only not be carried away by its natural lightness into any flights in the sky, but it will actually be carried down to the depths of earth by the weight of the moisture it has received.
In the same way our soul, if it is not weighed down with faults that touch it, and the cares of this world, or damaged by the moisture of injurious lusts, will be raised (so to speak) by the natural blessing of its own purity, and carried aloft to the heights by the light breath of spiritual meditation. Leaving things low and earthly, it will be transported to those that are heavenly and invisible.
St. John Cassian
"St. Thomas Aquinas says that art does not require rectitude of the appetite, that it is wholly concerned with the good of that which is made. He says that a work of art is a good in itself, and this is a truth that the modern world has largely forgotten." -- Flannery O'Connor
"To become attuned to art is to become attuned to the pure sensation of being alive, because you are seeing it embodied in all of its mystery."
-- Kent Jones
I am an artist. I live in Minneapolis, Minnesota.