Goodnight Paul
"What do I need to do to make you come?"
"Paint me remembrances of yourself, through every stroke, make me feel you, in every in every image you bring forth, show me you."
"Then you offer your self as canvas. Could you stand it? You seem such a delicate thing. Too fragile for me to turn into you into the arena in which I act. Is that what you want"?
"Yes"
"But this me that you call forth has a life of its own, in its actions. It comes through and its force is wild. Aggressive, even, feral, demanding, dark selfish and singular."
" I know, do it anyway."
Photo Copyright Hans Natmuth
"True creativity comes from enjoying the moments, which then fulfil themselves, and a part of the creative process is indeed the art of relaxation, the letting go, for that triggers magical activity..." -- The Magical Approach, page 8.
"Was it hard, to be yourself, being yourself amidst it all"?
"It was always hard, but easy too. People's opinions of me were irrelevant. Many found it hard to accept me, they called me a rebel. Being oneself was considered an act of rebellion. I really did not care about them. It was not an act. When I got further away from the usual painters tools such as easel, palette and brushes they thought I was mad and said so. Loudly. They were a braying pack at my door. So what if I preferred sticks and trowels and dripping fluid paint or heavy impasto. So what that I added sand and broken glass? So what"?
"Many concepts, huge advancements and practical inventions, simply wait in abeyance in the world of dreams until some man accepts them as possibilities within his frame of reality." The Early Sessions, Book 3, Session 115.
"This feeling of abandoning oneself to the power and force of one's own life does not lead to a mental segregation, but instead allows the self to sense the part that it plays in the creative drama of a universe. Such understandings often cannot be verbalized. They are instead perceived or experienced in burst of pure knowing or sudden comprehension." -- The Way Toward Health page 269.
"Still, some people must have mattered."
"Yes, some, but not many, not those creative pygmies who thought to tell me how to paint and what a painting should be. What I should be. I expressed my feelings. I did not illustrate them. They called me abstract because I did not give them pretty easy to understand paintings that they could ignore while sipping someone else's champagne at gallery openings. But I was representational some of the time, and a little all of the time. But when I paint out of my unconscious, strange figures emerge .It is not my responsibility to make sure they recognize them. I expected of myself only to paint, nothing less. I was right and I knew it."
"Again, expectations are not only vital in the formation of physical constructions, but they also determine what inner data of all available, will be received by the individual; and then the individual interprets the data in terms of the same expectations. The core of individuality, then, is the individual's expectations, for he will truly get what he wants, individually and collectively. If a man wants to change his fate, desire is not enough, but expectation is. Desire may grow into expectation, but alone it is not enough. Expectation is actually the main trigger that switches inner data into the realm of physical construction. Without it, no physical construction results." -- The Early Sessions, Book 2, Session 76.
"Was it strange when you became famous"?
"The strangeness wore off. They all called me Jackson, they never knew Paul. Paul is the painter. Turn over. The fame was not about me, it was for them, they constructed it, they destroyed it. But my paintings remain, because each painting has a life of its own plus my life is in them .I come through onto the canvas. Do you understand, that I am inside"?
"Yes."
"It is only when I lose contact with myself and the canvas before me or under me that the painting that results is a mess; that my motions are impotent. Otherwise in the action, in each movement there is pure harmony. An easy give and take, a rhyming that sustains. And the painting comes out well. Turn over. When I am painting I have a general notion as to what I am about. I can control this flow of paint: there is no accident, it is all highly emotional."
"The emotions come closer than anything else to the vividness of inner data." -- The Early Sessions, Book 1, Session188.
"In the morning you may like this, what happen and me or you may not. There was a reviewer a while back who wrote that my paintings didn't have any beginning or any end. He didn't mean it as a compliment, but it was. He was a better friend than most of those adoring masses."
"It is late darling and I must leave."
"I Know."
"When you look at my paintings now will you feel me and see me."
"Yes."
"Was I what you wanted, did you come"?
"Yes."
"Good."
"The personality when it leaves your plane for good will have developed its potentials as far as it possibly can." -- The Early Sessions, Book 1, Session 163.
Paul Jackson Pollock: 28, January 1912-12, August 1956.
"Paint me remembrances of yourself, through every stroke, make me feel you, in every in every image you bring forth, show me you."
"Then you offer your self as canvas. Could you stand it? You seem such a delicate thing. Too fragile for me to turn into you into the arena in which I act. Is that what you want"?
"Yes"
"But this me that you call forth has a life of its own, in its actions. It comes through and its force is wild. Aggressive, even, feral, demanding, dark selfish and singular."
" I know, do it anyway."
Photo Copyright Hans Natmuth
"True creativity comes from enjoying the moments, which then fulfil themselves, and a part of the creative process is indeed the art of relaxation, the letting go, for that triggers magical activity..." -- The Magical Approach, page 8.
"Was it hard, to be yourself, being yourself amidst it all"?
"It was always hard, but easy too. People's opinions of me were irrelevant. Many found it hard to accept me, they called me a rebel. Being oneself was considered an act of rebellion. I really did not care about them. It was not an act. When I got further away from the usual painters tools such as easel, palette and brushes they thought I was mad and said so. Loudly. They were a braying pack at my door. So what if I preferred sticks and trowels and dripping fluid paint or heavy impasto. So what that I added sand and broken glass? So what"?
"Many concepts, huge advancements and practical inventions, simply wait in abeyance in the world of dreams until some man accepts them as possibilities within his frame of reality." The Early Sessions, Book 3, Session 115.
"This feeling of abandoning oneself to the power and force of one's own life does not lead to a mental segregation, but instead allows the self to sense the part that it plays in the creative drama of a universe. Such understandings often cannot be verbalized. They are instead perceived or experienced in burst of pure knowing or sudden comprehension." -- The Way Toward Health page 269.
"Still, some people must have mattered."
"Yes, some, but not many, not those creative pygmies who thought to tell me how to paint and what a painting should be. What I should be. I expressed my feelings. I did not illustrate them. They called me abstract because I did not give them pretty easy to understand paintings that they could ignore while sipping someone else's champagne at gallery openings. But I was representational some of the time, and a little all of the time. But when I paint out of my unconscious, strange figures emerge .It is not my responsibility to make sure they recognize them. I expected of myself only to paint, nothing less. I was right and I knew it."
"Again, expectations are not only vital in the formation of physical constructions, but they also determine what inner data of all available, will be received by the individual; and then the individual interprets the data in terms of the same expectations. The core of individuality, then, is the individual's expectations, for he will truly get what he wants, individually and collectively. If a man wants to change his fate, desire is not enough, but expectation is. Desire may grow into expectation, but alone it is not enough. Expectation is actually the main trigger that switches inner data into the realm of physical construction. Without it, no physical construction results." -- The Early Sessions, Book 2, Session 76.
"Was it strange when you became famous"?
"The strangeness wore off. They all called me Jackson, they never knew Paul. Paul is the painter. Turn over. The fame was not about me, it was for them, they constructed it, they destroyed it. But my paintings remain, because each painting has a life of its own plus my life is in them .I come through onto the canvas. Do you understand, that I am inside"?
"Yes."
"It is only when I lose contact with myself and the canvas before me or under me that the painting that results is a mess; that my motions are impotent. Otherwise in the action, in each movement there is pure harmony. An easy give and take, a rhyming that sustains. And the painting comes out well. Turn over. When I am painting I have a general notion as to what I am about. I can control this flow of paint: there is no accident, it is all highly emotional."
"The emotions come closer than anything else to the vividness of inner data." -- The Early Sessions, Book 1, Session188.
"In the morning you may like this, what happen and me or you may not. There was a reviewer a while back who wrote that my paintings didn't have any beginning or any end. He didn't mean it as a compliment, but it was. He was a better friend than most of those adoring masses."
"It is late darling and I must leave."
"I Know."
"When you look at my paintings now will you feel me and see me."
"Yes."
"Was I what you wanted, did you come"?
"Yes."
"Good."
"The personality when it leaves your plane for good will have developed its potentials as far as it possibly can." -- The Early Sessions, Book 1, Session 163.
Paul Jackson Pollock: 28, January 1912-12, August 1956.
posted by Belle at 8:52 AM
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