When I came to that realization, I knew I had found my way. Painting isn’t an aesthetic operation it’s a form of magic designed to be a mediator between this strange, hostile world and us, a way of seizing the power by giving form to our terrors as well as our desires. At that moment I realized that this was what painting was all about. Men had made those masks and other objects for a sacred purpose, a magic purpose, as a kind of mediation between themselves and the unknown hostile forces that surrounded them, in order to overcome their fear and horror by giving it a form and an image. It depressed me so much I wanted to get out fast, but I stayed and studied. When I went for the first time, at Derain’s urging, to the Trocadéro museum, the smell of dampness and rot there stuck in my throat. At that time, for most people a Negro mask was an ethnographic object. When I became interested, forty years ago, in Negro art and I made what they refer to as the Negro Period in my painting, it was because at that time, I was against what was called beauty in the museums. Charles Mingus, Beneath the Underdog: His World As Composed by Mingus He felt he was able to touch people, to contact certain souls in the next room or miles away or even those who had died. with trash whom.He began to realize he had some sort of mystic powers. My Life matters my rights my primacy this is my Florida give me what's mine share it leave me alone and I'll work with you if you want help I would vote give it to you or tell you how to do it in less you ask cause I just wanna be left alone with a family and friends who love and support My life was so on point until I came to Florida. Questo cuore selvaggio non può essere spezzato No, i cuori selvaggi non possono essere spezzati, mi picchi, mi tradisca No, i cuori selvaggi non possono essere spezzati. I cuori selvaggi non possono essere spezzati Ma non mi fermerò finché non saremo liberi Le pietre che lanci possono farmi sanguinare Non c'è abbastanza nastro per chiudere questa bocca
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