Henri Matisse II by Yu Cao

NOTES ON "HENRI MATISSE-RETOSPECTIVE EXHIBITION"

"What I am after, above all, is expression. The purpose of a painter must not be conceived as separate from his pictorial means, and these pictorial means must be the more complete the deeper is his thought. I am unable to distinguish between the feeling I have for life and my way of expressing it." pp.30

"Expression to m way of thinking does not consist of the passion mired upon a human face or betrayed by a violent gesture. The whole arrangement of my picture is expressive. The place occupied by figures or objects, the empty space around them, the proportions, everything plays a part. Composition is the art of arranging in a decorative manner the various elements at the painter's disposal for the expression of his feelings. In a picture every part will be visible and will play the role conferred upon it, be it principal or secondary. All that is not useful in the picture is detrimental. A work of art must be harmonious in its entirety; for superfluous details would, in the mind of the beholder, encroach upon the essential elements. "

"Composition, the aim of which is expression, alters itself according to the surface to be covered. a drawing must have a power of expansion which can bring to life the space which surrounds it. An artist who wants to transpose a composition onto a larger canvas must conceive it over again in order to preserve its expression; he must alter its character and not just fill in the squares into which he has divided his canvas." ppp.30 Composition is for expression. Paper is a field, drawing occupies and inhabits it. Line is like wall, when wall can bring to life the space that surrounds it, architecture is there, life is there. Scale is essential, different sizes of paper require different composition of the drawing; different sizes of the field, require different volume of the building to effect expression. Expression, composition, scale

"I want to reach that state of condensation of sensations which constitutes a picture. ... I prefer to continue working on it so that later I may recognize it as a work of my mind. Nowadays I try to put serenity into my pictures and work at them until I feel that I have succeeded. ... I try to condense the meaning of this body by drawing its essential lines. I will be merely one element in the general conception of the figure. The colors will probably grow heavier-- the freshness of the original tones will give way to greater solidity, an improvement to my mind, but less seductive to the eye. ... I prefer by insisting upon its essentials, to discover its more enduring character and content, even at the risk of sacrificing some of its pleasing qualities." "it is yet possible to search for a truer, more essential character which the artist will seize so that he may give to reality a more lasting interpretation."

"There are two ways of expressing things; one is to show them crudely, the other is to evoke them artistically. In abandoning the literal representation of movement it is possible to reach towards a higher ideal of beauty. Look at an Egyptian statue: it looks rigid to us; however, we feel in it the image of a body capable of movement and which despite its stiffness is animated." pp.32 Expression-- a character of duration-- "a feeling of duration".

"The relation between tones must be so established that they will sustain one another. The chief aim of color should be to serve expression as well as possible.I will only be inspired by the sensation that the season gives me"

*** "A work of art must carry in itself its complete significance and impose it upon the beholder even before he can identify the subject matter. When I see the Giotto frescoes at Padua I do not trouble to recognize which scene of the life of Christ I have before debut I perceive instantly the sentiment which radiates from it and which is instinct in the composition in every line and color. The title will only serve to confirm my impression. What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter."

"One can judge of the vitality and power of an artist when after having received impressions from nature he is able to organize his sensations to return in the same mood on different days, voluntarily to continue receiving these impressions; this power proves he is sufficiently master of himself to subject himself to discipline."

"The simplest means are those which enable an artist to express himself best. His expression must derive inevitably from his temperament. He must sincerely believe that he has only painted what he has seen. When he uses his reason his picture is an artifice."pp.35

"The role of the artist, like that of the scholar, consists in penetrating truths as well known to him as to him as to others but which will take on for him a new aspect and so enable him to master them in their deepest significance."

"Rules have no existence outside of individuals: otherwise Racine would be no greater genius than a good professor. Any of us can repeat a fine sentence but few can also penetrate the meaning." pp.36

____Notes of a  painter by matisse, 1908

Organizing sensations to put ourselves in a situation/ mood where we're receiving impression from nature is essential. A mental limbering up sets the tone for the day, the incubator for what to come. Deep breath, clean all over, crisp apples, water, where the mind is itself, complete, comfortable, fresh in solitary and serenity, in fullness of emptiness. 

Expression of deep enduring consolidated sensations is all the necessary. 

 

Henry Matisse I by Yu Cao

"MATISSE ON ART"

"I was stuck by the revelations of my pen, and I saw that the mind which is composing should keep a sort of virginity for certain chosen elements, and reject what is offered by reasoning." Portraits, 1954, pp.151 

"the flowers linked with the play of clouds"152

"black, white, color, style of engraving, typography. they are never decided upon before the work is undertaken, but develop coincidentally as inspiration and the direction of my experiments indicate. I do not distinguish between the construction of a book and that of a painting, and I always proceed from the simple to the complex, yet am always ready to reconcile in simplicity."           pp.109 how i made my books, 1946

"black is a color"           1946, pp.106

"color, emotive power.""what counts most with colors are relationships. when one composes with it, like a musician with harmonies, it is simply a question of emphasizing the differences. color is never a question of quantity but of choice. Color attains its full expression only when it is organized, when it corresponds to the emotional intensity of the artist. With drawing, even if it is done with only one line, an infinite number of nuances can be given to each part that the line encloses. Proportion plays a fundamental role. When you understand an object thoroughly, you are able to encompass it with contour that defines it entirely. ... Color helps to express light, not the physical phenomenon, but the only light that really exists, that in the artist's brain. Each age brings with it its own light, its particular feeling for space, as a definite need. Today there is demand for the total possession of this space. ... Color is a means of liberation, is magnificence and eye-catching. Isn't it precisely the privilege of the artist to render precious, to enable the most humble subject?"        pp.99 "the role and modalities of color"

"the painting is not a mirror reflecting what I experienced while creating it, but a powerful object, strong and expressive, which is as novel for me as for anyone else."       pp.90 On Transformations, 1942

"My line drawing is the purest and most direct translation of my emotion. /// the character of the model, the human expression ,the quality of surrounding light, atmosphere and all that an only be expressed by drawing. ... Once my emotive line has modeled the light of my white paper without destroying its precious whiteness, i can neither add nor take anything away. The page is written; no correction is possible. ... I am like the like the dancer or tightrope walker who begins his day with several hours of different limbering exercises so that every part of his body obeys him, when in front of his public he wants to give expression to his emotions by a succession of slow or fast dance movements, or by an elegant pirouette. My final line drawings always have their own luminous space, and the objects of which they are composed are on different planes; thus, in perspective, but in a perspective of feeling, in suggested perspective." Color--a perspective of feeling "Drawing, a means deliberately simplified so as to give simplicity ad spontaneity to the expression which should speak without clumsiness, directly to the mind of the spectator." pp.81

****"models, I observe at liberty, When I take a new model, I intuit the pose that will best suit her fro her un-selfconscious attitudes of repose, and then I become the slave of that pose. ... Their forms are not always perfect, but they are always expressive. The emotional interest aroused in me by them doest not appear particularly in the representation of their bodies, but often rather in the lines or the special values distributed over the whole canvas or paper, which form its complete orchestration, its architecture. But not everyone perceives this. It is perhaps sublimated sensual pleasure, which may not yet be perceived by everyone." Architecture--orchestration/compostion of lines/values in a field--sensual pleasure--expressive "I do not create a woman, I make a picture." When the architecture/orchestration/composition of lines/values in a field is expressive, it will arouse sensual pleasure. "I do not renounce the play of values or modulations. I modulate with variations in the weight of line, and above all with the areas it delimits on the site paper. I modify the different parts of the white paper without touching them, but by their relationships. To sum up, I work without a theory. I am conscious only of the forces I use, and I am driven on by an idea which I really only grasp as it grows with the picture. As Chardin used to say, 'I add until it looks right.' Making a picture would seems as logical as building a house, if one worked on sound principles. One should not bother about the human side. If one has, it colors the work in spite of everything. "         pp.82 Notes of a painter of his drawing

the precision of architecture/orchestration/composition for sensual pleasure, emotive power, expressive quality/character, color --feeling of space, 

"a black could could very well replace a blue, since basically the expression derives from the relationships."       pp.74 The Purity of the Means

"My purpose is to render my emotion. This state of soul is created by the objects which surround me and which react in me: from the horizon to myself, myself included.  For very often I put myself in the picture, and I am aware of what exists behind me. I express as naturally the space and the objects which are situated there as if I had only the sea and the sky in front of me; that is to say, the simplest thing in the world. I think only of rendering my emotion."  pp.60

"characteristics of a drawing, depend on the profound feeling of the artist before the objects which he has chosen, on which his attention is focused, and the spirit of which he has penetrated. ... It is quite clear that this sum total of elements describes the same man, as to his character and his personality, his way of looking at things and his reaction to life, and as to the reserve with which he faces it and which keeps him from an uncontrolled surrender to it. It is indeed the same man, one who always remains an attentive spectator of life and of himself. ... It is thus evident that the anatomical, organic inexactitude in these drawings has helped to clarify the expression of the intimate character and inherent truth of the personality. ... Is it not an interpretation of the human sensibility of the person represented? Rembrandt's saying-- I have never painted anything but portraits."  pp.119 Exactitude is not Truth

****"The object is not interesting in itself. It's the environment which creates the object. ... The object must act powerfully on the imagination; the artist's feeling expressing itself through the object must make the object worthy of interest: it says only what it is made to say.""I have preserved the sign which suffices and which is necessary to make the object exist in its own form and in the totality for which I conceived it. ... I counted solely on the clarity of expression of my work to gain my ends.""I can say nothing of my feelings about space which is not already expressed in my paintings." pp. 137 Testimonial   [][][][][][][][][] means of expression, I seek means of expression in architecture, to express deep feelings precisely. Each painting is a field of finding. like Mattisse said he "studied separately each element of construction: drawing, color, values, composition; to explore how these elements could be combined into a synthesis without diminishing the eloquence of any one of them by the presence of the others, and to make constructions from these elements with their intrinsic qualities undiminished in combination; in other words, to respect the purity of the means." pp. 128 To me, architecture is a field of finding. I need to do one architecture after another to find my means of expression. I need to construct material, structure/contour, light/color, volume, composition, scale with their intrinsic qualities. I need to make these elements reveal each other, build the relationship, make the choice and organization. A synthesis will lead to emotional power. With scale, I could construct them. I have to construct them in architecture. Is a drawing or model architecture? Or is it a vision of architecture? Is a real building architecture? Where is architecture? When a scaled drawing or model achieve the completeness of information for building in reality, architecture is there. When an idea is expressed to the completeness and clarity of materiality, architecture is there. How does it different from sculpture? Scale. It is not a sculpture, or painting, or drawing, it is an architecture. Its meaning is in inhabitation-- imagine when people are in the space. Imagination of inhabiting is crucial to a work of architecture. In front of painting, or sculpture. What about in front of a physical work of architecture? That is quite similar to encountering a painting or sculpture. So a scaled drawing or model of architecture is like the sketch that expresses the character from which a painting/sculpture is created. A scaled drawing or model of architecture bears the precise expression of character as the built building. Character is timeless. The character in the drawing is exactly the character in the model, and is ready to be captured in the later painting. Thus model-drawing-painting is a reverse of drawing/modeling-scaled drawing/modeling-building. But the character is consistent in both cases of painting and architecture. If in a person, painting feels the character, where does a character of architecture come from? Feeling. What is the subject of architecture? Program. For a program, the feeling for it has to be right, for that feeling, I will construct materials, structures/skeleton, contours, volumes, color/light, composition ... I've got to construct scaled drawings and models of architecture, they are the fields for finding meaningful means of expressions in architecture. [][][][][][][][][]

 

"It is imagination that gives depth and space to a picture." pp.134

 

"Picasso on art" by Yu Cao

"To find is the thing. When I paint my object is to show what I have found and not what I am looking for. What one does is what counts and not what one had the intention of doing."

"To me there is no past or future in art. If a work of art cannot live always in the present it must not be considered at all."

"I have never made trials nor experiments. Whenever I had something  to say, I have said it in the manner in which I have felt it ought to be said. Different motives inevitably require different methods of expression. This does not imply either evolution or progress, but an adaptation of the idea one wants to express and the means to express that idea." The precision and integrity of expressing. "I consider a work of art as the product of calculations. The calculation that precedes intelligence. It is the other self inside us who calculates." 

"Cubism is an art dealing primarily with forms, and when a form is realized it is there to live its own life.5"

*** "I want to get to the stage where nobody can tell how a picture of mine is done. What's the point of that? Simply that I want nothing but emotion to be given off by it."8 Emotion, expression,

"When I begin a picture, there is somebody who works with me. Toward the end, I get the impression that I have been working alone––without a collaborator." about being solitary.

*** "When you begin a picture, you often make some pretty discoveries. You must be on guard against these. Destroy the thing, do it over several times. In each destroying of a beautiful discovery, the artist does not really suppress it, but rather transforms it, condenses it, makes it more substantial. What comes out in the end is the result of discarded finds. Otherwise, you become your own connoisseur. I sell myself nothing." 9 "You understand, it's not a question of 'time found,' but of 'time to discover.'"28 I want to keep moving on. Suddenly lost interest in talking about myself. I was just stupid. "In my case a picture is a sum of destructions. I do a picture--then I destroy it. In the end, nothing is lost; the red I took away from one place turns up somewhere else." "The most important thing is to do, and nothing else; be what it may."38"After all, a work of art is not achieved by thought but with your hands."39

"There is no abstract art. You must start with something. Afterward you can remove all traces of reality. There's no danger then, anyway, because the idea of the object will have left an indelible mark. It is what started the artist off, excited his ideas, and stirred up his emotions. ... I didn't copy this light nor did I pay it any special attention. I was simply soaked in it. My eyes saw it and my subconscious registered what they saw: my hands fixed the impression. One cannot go against nature. It is stronger than the strongest man. It is pretty much to our interest to be on good terms with it!" 9 "The artist is always calculating without knowing, that the Doric column came forth as a hexameter does, from an operation of the senses, and that he had perhaps just invented that column in the same way the Greeks had discovered it."

"I deal with paintings as I deal with things, I paint a window just as I look out of a window. If an open window looks wrong in a picture, I draw the curtain and shut it, just as I would in my own room. In paintings, as in life, you must act directly." 10

"When things are concerned, there are no class distinctions. We must pick out what is good for us where we can find it--except from our own works. I have a horror of copying myself. But when I am shown a portfolio of old drawings, for instance, I have no qualms about taking anything I want from them." 10 "It's magnificent to invent new subjects. Take Van Gogh: Potatoes, those shapeless things! To have painted that or a pari of old shoes! That's really something!"

"Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon. We love with our desires--although everything has been done to try and apply a canon even to love. ... It's not what the artist does that counts, but what he is. What forces our interest is Cézanne's anxiety--that's Cézanne's lesson; the torments of Van Gogh-- that is the actual drama of the man. The rest is a sham." 11 "What counts is what is spontaneous, impulsive. That is the truthful truth. What we impose upon ourselves does not emanate from ourselves."21 "It is my misfortune--and probably my delight-- to use things as my passions tell me. I put all the things I like in my paintings. The things-- so much the worse for them; they just have to put up with it."

"an artist works of necessity, that he himself is only a trifling bit of the world, and that no more importance should be attached to him than to plenty of other things which please us in the world, though we can't explain them."

Personality; Originality

He was so simple and sincere that I felt as though I had known him for years.

***************"I just want to reproduce the objects for what they are and not for what they mean.""I have never been out of reality. I have always been in the essence of reality. Now is the time in this period of changes and revolution to use a revolutionary manner of painting and not to paint like before.... But for me, I use a revolutionary expression. In this painting, there is no abstract significance.... I paint this way, because it's a result of my thought. I can't use an ordinary manner just to have the satisfaction of being understood. I don't want to go down to a lower level....the essence of what they see is really in the painting."142

*********"If it contains a truth, my work will be useful without my express wish. If it doesn't hold a truth, so much the worse. But I will never make art with the preconceived idea of serving the interests of the political, religious or military art of a country.""I don't make speeches. I speak through painting."

"there are lies of painting 'in the manner of',; but it is rare to find a young man working in his own way." "What I have to do is to utilize as best I can the ideas which objects suggest to me, connect, fuse and color in my way the shadows they cast within me, illumine them from the inside."19 "The time will come when you will suddenly realize that, without any help from the outside, you've learned all you need to know." 24  *****"I would prefer to invent a grammar of my own than to bind myself to rules which do not belong to me." pp.46 "Personality resides within the person himself. Personality does not emanate from the desire to be personal. The individual who insists on being original wastes his time and deceives himself; if he attains something it is but an imitation of what he likes, and if he goes farther it may be that what he does does not even resemble him."pp.46 I have been in this mood to some degree. "The inner I is inevitably in my painting, since it is I who make it. I needn't worry about that. Whatever I do, it will be there. It will be all too much there... it's the rest that is the problem!" pp.47 hahaha "For my part, I can't do anything else but what I am doing."pp.48 "in the discrepancy between perfect roundness and your closest approximation to it, you will find your personal expression."pp.47 "Disciples be damned. It's not interesting. It's only the masters that matter. Those who create. And they don't even turn around when you piss on their heels.." "Oh! no, Don't expect me to repeat myself. My past doesn't interest me any more. I would rather copy others that repeat myself. At least i would inject something new into them. I like discovering too much."pp.52 "Repetition is contrary to the laws of spirit, to its flight forward! Copying others is necessary, but what a pity to copy oneself!" "To repeat is to run counter to spiritual laws; essentially escapism." p56 "You should constantly try to paint like someone else. But the thing is, you can't! You would like to. You try. But it turns out to be a botch... And it's at the very moment you make a botch of it that you're yourself." pp.53 "I have never in any museum seen a picture as beautiful as this one, he said to me, pointing to a sheet of tin hanging on the door, the man who painted this picture was not thinking of his glory." pp54 "The important thing is that they start out with what belongs to them, is in them, and not with that which belongs to others or with what others discovered." "A young artist must forget painting when he paints. That's the only way he will do original work. To blossom forth, a work of art must ignore, or rather forget all the rules." pp.58

"The goal I proposed myself in making cubism? To paint and nothing more. And to paint seeking a new expression, divested of useless realism, with a method linked only to my thought -- without enslaving myself or associating myself with objective reality. It is my will that takes form outside of all extrinsic schemes, without considering what the public or the critics will say." pp.60 [][][][][]I have the will to make architecture purely an expression of the mind/thought free from associating one with objective reality, it will be emotion.[][][][][]

"When we invented cubism we had no intention whatever of inventing cubism. We wanted simply to express what was in us." 10 "We used to make our constructions, we produced 'pure truth', without pretensions, without tricks, without malice. We put enthusiasm into work, and this alone would be enough, for we surrendered ourselves to it completely, body and soul."pp.60

"I don't loathe art, because I couldn't live without devoting all the time to it. I love it as the only end of my life. Everything I do connected with it gives me intense pleasure. But still, I don't see why the whole world should be taken up with art, demand its credentials, and on that subject give free rein to its own stupidity." | "It's because, at the moment we're doing it, it makes us feel better. And that's the main thing."

"As far as I am concerned, at any rate, my original idea has no further interest, because in realizing it I am thinking about something else."16

"One simply paints--one doesn't paste one's ideas on a painting."17 "A picture is not thought out and settled beforehand. While it is being done it changes as one's thought change. And when it is finished, it still goes on changing, according to the state of mind of whoever is looking at it. A picture lives a life like a living creature, undergoing the changes imposed on us by our life from day to day. This is natural enough, as the picture lives only through the man who is looking at it." "While I am working I am not conscious of what I am putting on the canvas. Each time I undertake to paint a picture I have a sensation of leaping into space. I never know whether I shall fall on my feet.""You have to have an idea of what you are going to do, but it should be a vague idea."28 "One never knows what one is going to do. One starts a painting and then it becomes something quite else. It is remarkable how little the 'willing' of the artist intervenes." "With an enigmatic smile he told me that he himself never knew what was coming next, nor did he try to interpret what he had done. 'That is for others to do if they wish,'" "If I paint as many canvas as I do, it is because I am searching for spontaneity, and when I have expressed a thing with a degree of happiness I no longer have the courage to add anything at all... "28-31 "Unfinished, a picture remains alive, dangerous. A finished work is a dead work, killed." 38

"It is not after nature I'm painting, but before nature, with it.""Through art we express our conception of what nature is not."

"I insist on likeness, a more profound likeness, more real than the real, achieving the surreal. "

"Actually it isn't anything more than a question of signs. It's an established convention, we communicate by the use of these signs. "

"We are not merely the executors of our work; we live our work.""work is a necessity for man.""Where do i get this power of creating and forming? I don't know. I have only one thought: work.""I paint just as I breathe. When I work, I relax; not doing anything or entertaining visitors makes me tired. It's still often 3:00 am. when I switch off my light." pp.49 "I am interested only in the painter's work because, thanks to it, I can see him and I am certain that the poor devil put all his five senses into producing it."p54

 

****"Actually, everything depends on oneself. It's the sun in the belly with a million rays. The rest is nothing. It's only for that reason that Matisse is Matisse--it's because he carries the sun in his belly. And its also the reason why, from time to time, something happens. The oeuvre one creates is a form of diary." pp.45 A great poet has to be a great poem. 

"It is not a reality you take in your hand. It's more like a perfume--in front you, behind you, to the sides. The scent is everywhere, but you don't quite know where it comes from."155 

"this bull is a bull and this horse is a horse."155

"A master should be free by instinct and be able to break the chain of rules even at the peril of his life. Michelangelo, I love to get lost in his work as in a rich and powerful mountain."

"Las Meninas, what a picture! What realism! There you have the true painter of reality."

"The truthfulness of Roman art-- it's like their buildings, utilitarian but all the more beautiful in their genuine simplicity." 170

"Picasso on Art: A Selection of Views, Dore Ashton

"On Not Knowing" by Yu Cao

"Heidegger identifies the work of art (the activity, not the object) as the locus of the unknown.""The unknown is not beneath, behind or secreted within the work, the unknown is the work...This incomprehensibility... is always a contingent aesthetic act... an infinite project of reflection on not knowing.""For Heidegger, although the artist and the viewer occupy very different positions in relation to the artwork(from within and without respectively), both are drawn into a provisional and perpetual process of enquiry by art."

"Art as a form of research or a way of thinking provides the means to engage with the unknown, but it also questions the quest to know."11

2

"wonder is the first of all passions." by Descartes 19

wonder is encountering the unknown, is when the unknown get registered in the consciousness,

"cultivating wonder is a way of remaining open to the otherness of the other without seeking to appropriate or assimilate them." 19

"the stake is to wonder again and again without ever stopping" by Nietzsche 20

"In Kant's account of genius, he emphasizes that genius works without knowing what it is doing, insofar as no rule could be formulated in advance for producing a truly original artwork."20

"not knowing remains an essential component of what Kant describes as the most intense kind of aesthetic experience, that of the sublime. one trigger for the sublime is the encounter with something that seems infinite to us"20

* "Material intelligence implies not only human intelligence about matter, but the intelligence of matter, understood as adaptive and self-organizing." It emerges by the way "human beings always already are bodily and material beings themselves, as well as by an acceptance of not knowing that allows human intelligence about matter to be coupled with the guiding intelligence of matter."27-28

"It is the body, composed of what Jane Bennett calls a 'vital materiality,' that thinks, feels, wills, and even knows, with a complexity that far exceeds what it is possible to bring to consciousness."28

"leotard thus counsels us to future and renew the potency of infancy, the 'childhood of thought,' that remains with us in adulthood and that grants human beings a capacity to begin again, to find new ways of thinking and being."24

 

"theorist Estelle Barrett proposes 'the valorisation of studio practice as a mode of enquiry'"77

to me, studio is about being solitary and play. is about letting something emerge without knowing  what it may be. 

Quality of Not Knowing by Yu Cao

Matisse said: "A new painting should be a unique thing, a birth bringing a new face into the representation of the world through the human spirit. The artist should call forth all of his energy, his sincerity, and the greatest possible modesty in order to push aside during his work the old cliches that come so readily to his hand and can suffocate the small flower that itself never turns out as one expected."

"A musician once said: in art, truth and reality begin when one no longer understands what one is doing or what one knows, and when there remains an energy that is all the stronger for being constrained, controlled, and compressed. It is therefore necessary to present oneself with the greatest humility: white, pure and candid with a mind as if empty, in a spiritual state analogous to that of a communicant approaching the Lord’s Table. Obviously it is necessary to have all of one’s experience behind one, but to preserve the freshness of one’s instincts."

What defines the quality of not knowing:

  • Fullness of emptiness/ humility
  • Full presence in the present/ energy
  • Freshness of instinct/ Purposefulness
  • Sincerity

Then comes the mastery of that energy, the transformation of knowing, the New, the truth/ reality:

Yoyo Ma said mastery in musician is when one feels something, he or she knows exactly and immediately what to do with the instrument to express it. This is so similar to Matisse describes the relation between his hand and feelings: “if I have confidence in my hand that draws, it is because when I was training it to serve me I resolved never to let it overshadow my feelings. The more it is supple, the more it is obedient.” Here, mastery is the precision of expressing feeling through instruments. Picasso also mentions he never draw what he doesn't feel. This is the sincerity. It's being honest with what is happening--the feeling of spirit/character that's arising, it is to be pure to let the "human spirit" emerge. Capturing those moments of spirit, the vitality is important. They are traces of the real, the truth, what is not relational, but self-evident. Just to know that they exist, feel the energy that is beyond us is important to feel alive. It's like putting down "I," and reposition myself in a conversation with the world, I no longer know, no longer need to know, it is revealed to me, it is revealed in me, me as the revealed. 

"Circumstance" is where the world creates the world by Yu Cao

"Circumstance" is where I can ask questions that I may not with words, where I try all possible instruments of articulation, where I gain "authorship in revelation". In "circumstance," "you can write the world, you can create the world, that's the way the world creates the world," David put it. How beautiful! That's the key. Motion is the key. A succession of responding to what is happening, arising, revealing. This is what Hegel reveals the succession of Spirit's originating new objects in its own necessity. "Authorship in revelation" is the necessity. 

David makes realize the strongest way to ask may not be words. Curiosity of a difficult question and understanding is important, even though I may not be able to articulate it. Language may not be the first place to go. Maybe that's why the direct making with hand is what brings me refreshing discoveries! "The struggling of language is crucial." I feel now more comfortable living this struggle.

"A sense of agency." "You can make any tool you need." How wonderful. No fear to ask is an awareness. A sense of agency leads to no fear to ask and a creative life. It frees curiosity and sets it in motion. Such an energy will push the potential of framework, change it and lead to transformation. 

Imagine setting up a "circumstance" for a whole life,  living in authorship in revelation, that's dwelling in uncertainty--not knowing, being open for Spirit's succession in its own necessity-- the stronger energy beyond us, and a conversation between the world and us. The recollection of responding to and learning from revelation will lead to transformation. A life of transformation.