studio index: What I love (Five)

Wednesday, January 28, 2009

What I love (Five)

The very top image is the center medallion of triangles surrounded by multiple borders--from a 1966 quilt made by Sally Bennett Jones, one of the Gee's Bend Quilters.

I LOVE this image, and I wish I could see the whole quilt. In particular I love the irregular/illogical cadence of the rows of triangles. The subtle periodic shifts in positioning yield some optical nuttiness intriguing to me.

I made a quick little studio drawing to figure out the shifts just a tiny bit--should make a lot more to really understand what is going on.

And too, any entity that is readily comprised of amassed pieces (and a bit fragmentary) is right up my aesthetic alley.

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Notes

Within an ephemeral present, we return through memory to things, places, and events in the past in order to find purpose and direction in our lives. Meaningful time is elliptical time.
Vigen Guroian

I have concluded that the whole misfortune of men comes from a single thing, and that is their inability to remain at rest in a room.

Blaise Pascal

May your imagination know the grace of perfect danger.

John O'Donohue

The amount of life I can put through my eyes is the amount I can see.

Ivan Albright

When I painted a chair recently, I noticed that I put the paint on indifferently, smoothly but without particular attention. The results were satisfactory but not in any sense beautiful. Does the attention in itself with which paint is applied in art actually change the effect of the paint? Does the kind of consciousness with which we act determine the quality of our actions? It would follow, if this were true that the higher the degree of consciousness, the higher the quality of art. I think it likely. Training in art is, then, a demand that students increase the consciousness with which they employ techniques that are, in themselves, ordinary.

Anne Truitt, Daybook

It was suggested to me that I would want to preface this reading tonight with a short statement about my philosophy of writing. Of course I don't want to do anything of the kind. My approach to literary problems is very much like the one Dr. Johnson's blind housekeeper used when she poured tea for him. She put her finger inside the cup.

Flannery O'Connor