Surfaces simultaneously reveal and conceal.
All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.
A photograph is an invitation to look - and to look at looking.
Many oriental cultures make a distinction between two ways of looking - 'hard eyes' and 'soft eyes'. When we look with hard eyes, we see specific details with sharp focus, but we don't see the relationships between different details as well. When we look with soft eyes we see the relationships between everything in our field of vision, but with this softer focus, we don't see all the details as clearly. It's possible to look in two ways at once.
Looking and seeing are two different things.
Seeing creates growth.
The best plans evolve.
We talk about the vulnerability involved in sharing our work publicly. I don't think we talk enough about the real vulnerability involved in making art; if we truly engage the process we are changed by it.
Art is a journey of discovery.
It's one thing to make a beautiful thing; it's another thing to make a living thing.
My mantra is, 'This or something better.'
The influence of mystery is the greatest influence.
Keep alive the fact that a mystery has come into existence and that a physical being serves as a house for this mystery.
... the effort, diligence, and care required in practicing must be quickly suspended when pressure coming from anxiety or a desire for fast results causes them to degenerate.
Under all of the factors that make up the art world, it's up to the individual artist to discern which of those influences are present and at what time and what really serves the deeper process that is constantly running like a stream underground. Influence is incessant. Influence is a fact. But, carry a big shovel and dig constantly to clear away all the unessentials so that the origins of mystery and the poetic force of life can get into and inspire the work.
The only way a work of art can become great is for one to acknowledge that it doesn't belong to anybody. The greatness is in constantly giving back, coming to an acknowledgment of the source. Look back to the source of any individual, any process, any set of materials. If the individual personality can relinquish its insistence on concepts like this is mine, I did it, this is original, nobody else has done it, it goes straight for greatness or the essential spirit.
If you are engaging rationality, you are already engaging a place that makes you unavailable. Only when I recognize that inspiration has announced itself to my availability will I then say I need to use my mind to calculate exposure, my emotions to position myself and arrange a configuration of shapes that need to come into being, my body to put it all in place because we have been given a message and it has come through inspiration through being available.'
I've got to get the ultimate in composition today. or I've got to get the ultimate in light, I'll stay here until it appears. I was not making any demands. I went purely to see what would come, what might be there. I didn't have to be archaeologist or historian or tourist, I just needed to be available.
As far as my experience goes one is automatically in touch with the higher spiritual, it is connected to a certain level that interpenetrates our total physical and psychic existence. We are always in touch with it.
Can you keep your balance? Can you see what and where you are at any given moment?
I use my music to tune myself.
Seek freedom within action.
Work incessantly, cultivate discrimination, gather freedom from your own hard-earned results. Disregard successes but go back for help in an immediate problem. The possibility of discovery is everywhere. Freedom from your own work allows for intuition that draws from all your experience and perception but goes beyond it.
All that I have achieved are these dreams locked in silver.
I had this notion of what I called a democratic way of looking around, that nothing was more or less important.
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