The cold used to remind me of death. Now that I have begun to understand death, the cold reminds me of how much alive I am.

Wilson ‘Snowflake’ Bentley at work. Paradigmatic example of mania extending creativity.

Wilson ‘Snowflake’ Bentley at work. Paradigmatic example of mania extending creativity.

When one fails, another will win.

Raoul de Keyser, again.

Raoul de Keyser, again.

To admire reason.

To be in awe of reason.

To think in a reasonable way about unreasonable events.

To reason with your enemy.

To feel yourself wandering from the realm of the unreasonable.

To feel yourself flimsy with reason.

Is it the anticipation / expectation that feeds desire or is it the actualizing?

Process makes perfect

Process makes perfect

Not everything beautiful needs to be documented.

There is a thin line between intellectual posturing and intuitive allowing.

NOW
 Drawing by Louise Bourgeois

NOW


Drawing by Louise Bourgeois

I will paint you a blank envelope
and sing upon it.
I will tell you a secret
in red sequins.
An audience may laugh
at a clown face 
the color
of my childhood bedroom,
the one where I fell asleep
kissing your palm.
Yes, yes, I know you too,
I’ve always known you,
but it’s rude to stare.

I will paint you a blank envelope

and sing upon it.

I will tell you a secret

in red sequins.

An audience may laugh

at a clown faceĀ 

the color

of my childhood bedroom,

the one where I fell asleep

kissing your palm.

Yes, yes, I know you too,

I’ve always known you,

but it’s rude to stare.

Raoul de Keyser, Ohne Titel. Watercolor on Paper, 2008.
In sharp contrast to da Vinci, de Keyser’s watercolors are quick, emotionally-driven abstractions that depend no less than da Vinci on the materiality of their making. I think of these as a form of experiential note-taking, trying to record the essence of sensory information as opposed to a physical appearance. The aspects of life and time that are felt, not seen, but are positively real.

Raoul de Keyser, Ohne Titel. Watercolor on Paper, 2008.

In sharp contrast to da Vinci, de Keyser’s watercolors are quick, emotionally-driven abstractions that depend no less than da Vinci on the materiality of their making. I think of these as a form of experiential note-taking, trying to record the essence of sensory information as opposed to a physical appearance. The aspects of life and time that are felt, not seen, but are positively real.