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6

My joy was to study them and search for new ways to communicate. Year by year I registered in my mind the various changes and viewpoints from which I saw them. 

All these sources of "truth," by that meaning inspiration and "realization," resulted in a fragmented communicative structure.

The further I get inside my work...not only intuitive, the mind-and-label "Hell"...I find the less I have to do or like to do with the world around me.

There is a human pattern that surrounds me and when I step into it I come out of it with even less of myself. I am afraid that all these patterns are various human habits interfere with the creative process, so I try to leave as much of it out as I can.

The Roots of Inspiration and Reality in Art

The roots of inspiration are continuously changing.

When I listen to the music of Bach, I am aware of the "religious" element in his music, but his genius DOMINATES this element and gives it a universal art value.

Today we establish our contemporary Gods and Goddesses in art, ephemeral, fragmatic and mechanical.

What I am trying to bring out here is the NEED to CONTROL our various roots of inspiration. 

I find it difficult to accept that "Realism" means Reality in art.

I think that the reality of the artist is the way he relates himself to both: his sources of inspiration and the object he creates.

By approaching directly, physically--as is the reality of the natural of the reality of the mechanical, or whatever is the root of inspiration from which our works spring, it seems to me that we do not reach Real Reality in art.

Direct activities towards an art reality finally build a wall around me, separating me from this reality rather than helping me to "go through" it.

My way to this art reality is not the direct approach (realism) but the return of the tennis ball (to me the ball means the very root of inspiration) ; the hitting of the ball with a racquet.

Transcription Notes:
Transcribing the scribbles on the side is proving to be difficult, I am not sure how to do it.