Bigindicator

Notes on the Sources of Art

This piece, a cross-post from Horizons of Significance, has grown during the writing, pushed ahead by the ambition of its title, only slightly modified by the insertion of the word "Notes…" I'm resisting the urge to break it up into my customary 1,500 words. I need to break that habit as much as we all need not to get too comfortable with the bite-sized nature of blog posts in general, a "rule" I've already stretched with my "average" post! I've had this gestating inside me for a long time. Somehow it has surfaced now, with the catalyst of a post by Achille Mbembe, at the height of the "Dog... [more]
Posted by Antonio A. M. Dias on 8/19/11

Tools

This came to me while thinking about painting – while actually painting. We forget that tools are obstacles as often as they are helpful. They introduce agendas that can easily lead us astray. Joy, creativity, dialogue require us to keep tools in their places – as well as avoiding those attributes of striving, following means towards their ends, and fixating on goals, all attitudes that tool use tends to support. In painting we use tools, but not only as they are intended. We use them as much to get in our way as to facilitate. In either direction, tools help and hinder us. Mastery is the... [more]
Posted by Antonio A. M. Dias on 7/14/11

There Is No Stupid Premise

There is no stupid premise for beginning a painting. No clever ones either. If we begin off-balance and in grave doubt, or in the full flush of confidence in our selves and our gambit; if we are honest and do what the painting asks of us, we will go through the entire range of attitudes towards the work in progress, probably many times. In the end – if there is one – the painting begins to show us, with more and more clarity, what it needs. At the same time both the doubts and demands we put in front of the work recede. We stop when we can no longer see what the painting asks of us, or when... [more]
Posted by Antonio A. M. Dias on 7/11/11