“You let the brush take over and in a way follow its own head, and in the brush doing what it's doing, it will stumble on what one couldn't by oneself... It's essential to fracture influences in the same way that free association in psychoanalysis helps to fracture one's social self-deceptions.”

— Robert Motherwell

Quote, as cited by Grace Glueck, in 'Robert Motherwell, Master of Abstract, Dies', by Grace Glueck, 'New York Times, 18 July 1991 https://www.nytimes.com/1991/07/18/obituaries/robert-motherwell-master-of-abstract-dies.html <br class="br">Motherwell's description of the surrealist method of psychic automatism, or 'artful scribbling', as he called it and applied it always. It involved a kind of 'free association' in which the pen or brush was allowed to wander on the surface, free from and not directed by the conscious mind <br class="br">Undated

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Robert Motherwell42

American artist 1915–1991

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“What the really great artists do is they're entirely themselves. They're entirely themselves, they've got their own vision, they have their own way of fracturing reality, and if it's authentic and true, you will feel it in your nerve endings.”

David Foster Wallace (1962–2008) American fiction writer and essayist

“Forget about winning and losing; forget about pride and pain. Let your opponent graze your skin and you smash into his flesh; let him smash into your flesh and you fracture his bones; let him fracture your bones and you take his life. Do not be concerned with escaping safely — lay your life before him.”

Bruce Lee (1940–1973) Hong Kong-American actor, martial artist, philosopher and filmmaker

As quoted in Bruce Lee: Artist of Life (1999) edited by John R. Little, p. 192

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

“What I really want to do, it seems, is to paint a single form in the middle of a canvas... That's all a painter is, an image maker, is he not? And one would be a fool, some kind of fool, to want to paint a picture. The most powerful instinct is to paint a single form in its continuity, which is after all what a face is. This happens constantly on a picture. I remember last year I became so nervous about what I was doing that I finally reduce it down to the can on the palette with brushes in it. Well, that's real, tat can with brushes. And I painted the an with brushes sticking in it, and I couldn't tolerate it. I couldn't face it. It was as if it didn't contain enough of my thoughts or feelings about it.... I became signs. Exactly.... It seemed to become signs and symbols and I don't like signs.”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 95

“Whatever you do will change the world. If you take the most default option, you follow the most mainstream, down the line, ‘just keep your head down and get on with what they’re telling you to do’, approach, then that’s the world that you’re helping to create. There is no way that you can not change the world.”

Shaun Chamberlin

Kosmos interview on grief, Dark Optimism, aliveness and activism (2014) http://www.darkoptimism.org/2014/12/21/dark-optimism-power-of-grief/#post-4075

“Valkyrie smiled patiently. "I like how you do your make-up. Do you use a brush, or just dip your head in the bucket?”

Derek Landy (1974) Irish children's writer

“What are you doing here?”
All right, he was standing in front of an easel, holding a paint palette and brush. “Taxidermy?” he responded with just a touch of his own sarcasm.”

Robyn Carr American writer

Source: Wild Man Creek

“To know how to free oneself is nothing; the arduous thing is to know what to do with one's freedom.”

André Gide book The Immoralist

Savoir se libérer n'est rien; l'ardu, c'est savoir être libre. <br class="br">The Immoralist, Chapter 1 http://books.google.com/books?id=MPmRAAAAIAAJ&q=%22Savoir+se+lib%C3%A9rer+n'est+rien+l'ardu+c'est+savoir+%C3%AAtre+libre%22&jtp=17#v=onepage (1902) <br class="br">The Immoralist (1902)

“To know oneself is, above all, to know what one lacks. It is to measure oneself against Truth, and not the other way around. The first product of self-knowledge is humility…”

Flannery O’Connor (1925–1964) American novelist, short story writer

Source: Mystery and Manners: Occasional Prose

“You know there is the Fudesaki. What do you think of it? The seventeen parts of the Fudesaki were not completed in a short while. God spoke into my ears, saying, ‘Do not look at any writings, even the charge book from a bean curd shop.’ I wondered why. Then God said, ‘Brush, brush, take up the brush.’ I took the brush up for the first time at New Year’s when I became seventy-two years old. And when I took the brush up, My hand moved by itself. From heaven, God did it. After what was to be done was finished, My hand became numb and it could not be moved. God said, ‘Calm Your mind, and read this. If You find something You cannot understand, ask Me.’ I added brush strokes when I found something I could not understand. That is the Fudesaki.”

Nakayama Miki (1798–1887) Founder of Tenrikyo

Anecdotes of Oyasama, Foundress of Tenrikyo, from Anecdote 22, "Writing the Ofudesaki," p. 16.
Anecdotes of Oyasama

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Robert Motherwell42

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