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Pity only on fresh objects stays, but with the tedious sight of woes decays.
-John Dryden
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Pity Only On Fresh Objects Stays, But

John Dryden
Pity only on fresh objects stays, but with the tedious sight of woes decays.
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Sight Decay Woe

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Pity the nation whose statesman is a fox, whose philosopher is a juggler, and whose art is the art of patching and mimicking. pity the nation that welcomes its new ruler with trumpetings, and farewells him with hootings, only to welcome another ruler with trumpetings again. pity the nation whose sages are dumb with years and whose strong men are yet in the cradle. pity the nation divided into fragments, each fragment deeming itself a nation.
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Pity is not natural to man. children are always cruel. savages are always cruel. pity is acquired and improved by the cultivation of reason. we may have uneasy sensations from seeing a creature in distress, without pity; for we have not pity unless we wish to relieve them.
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It is clear that everybody interested in science must be interested in world 3 objects. a physical scientist, to start with, may be interested mainly in world 1 objects--say crystals and x-rays. but very soon he must realize how much depends on our interpretation of the facts, that is, on our theories, and so on world 3 objects. similarly, a historian of science, or a philosopher interested in science must be largely a student of world 3 objects.
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My pictures are devoid of objects; like objects, they are themselves objects. this means that they are devoid of content, significance or meaning, like objects or trees, animals, people or days, all of which are there without a reason, without a function and without a purpose. this is the quality that counts. even so, there are good and bad pictures.
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Go deeper than love, for the soul has greater depths, love is like the grass, but the heart is deep wild rock molten, yet dense and permanent. go down to your deep old heart, and lose sight of yourself. and lose sight of me, the me whom you turbulently loved. let us lose sight of ourselves, and break the mirrors. for the fierce curve of our lives is moving again to the depths out of sight, in the deep living heart.
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Movement, change, light, growth and decay are the lifeblood of nature, the energies that i i try to tap through my work. i need the shock of touch, the resistance of place, materials and weather, the earth as my source. nature is in a state of change and that change is the key to understanding. i want my art to be sensitive and alert to changes in material, season and weather. each work grows, stays, decays. process and decay are implicit. transience in my work reflects what i find in nature.
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