“Perceptual and pictorial shapes are not only translations of thought product but the very flesh and blood of thinking itself.”
Richard Arnhiem, Visual Thinking 1969
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“Perceptual and pictorial shapes are not only translations of thought product but the very flesh and blood of thinking itself.”
Richard Arnhiem, Visual Thinking 1969

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“When an artist uses a multiple modular method he usually chooses a simple and readily available form. The form itself is of very limited importance; it becomes the grammar for the total work. In fact it is best that the basic unit be deliberately uninteresting so that it may more easily become an intrinsic part of the entire work. Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means.”
Sol Lewitt, Paragraphs on Conceptual Art, Artforum 1967
“Successful ideas generally have the appearance of simplicity because they seem inevitable.”
Sol Lewitt, Paragraphs on Conceptual Art, Artforum 1967
“The future will be curved.”
Olafur Eliasson
Quoted by Hans Ulrich Obrist in the book “Everything You Wanted To Know About Curating But Were Afraid To Ask.”
“The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless.”
Sol Lewitt
The editor has written me that he is in favor of avoiding “the notion that the artist is a kind of ape that has to be explained by the civil

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“Constraints are great for making art but ultimately you end up becoming a crappy cover artist of your own work.”
Joshua Schachter, TED Talk
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“I’ve produced a body of work that tends to generate its own future. This is the definition of having a style, when the work you’ve done becomes an objective condition of the work you will do”
Carl Andre, Avalanche Magazine 1970
“It is possible to have intense awareness when the field is narrow and the signals few.”
Louise Glück from the poem “Bats”
“The love of form is a love of endings”
Louise Gluck, Celestial Music, 1990
Whereas moral courage is the righting of wrongs, creative courage, in contrast, is the discovering of new forms, new symbols, new patterns on which a new society can be built.
Rollo May, The Courage to Create

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“I can only be creative under huge constraints.”
Igor Stravinsky
"There are 360 degrees, so why stick to one?"
Zaha Hadid
Truth, goodness and beauty exist in a symmetrical structure within the object…. Once the structure of the object is discovered, there is no need for any other rhetoric or embellishment. There isn’t much else that needs to be done.”
Lee Seong-bok, Indeterminate Inflorescence (notes from a poetry class) 2015 Trans. Anton Hur
In the enfolded [or implicate] order, space and time are no longer the dominant factors determining the relationships of dependence or independence of different elements. Rather, an entirely different sort of basic connection of elements is possible, from which our ordinary notions of space and time, along with those of separately existent material particles, are abstracted as forms derived from the deeper order. These ordinary notions in fact appear in what is called the "explicate" or "unfolded" order, which is a special and distinguished form contained within the general totality of all the implicate order.
David Bohm, Wholeness and the implicate Order, 1980
“Line in nature is not found. Unit and universe are round. Nature centres into balls”
Ralph Waldo Emerson

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This business of unfolding what is implicit into what is explicit is the cosmos discovering its own nature. It may be the divine ground of being discovering what it has the capacity to make and feeling it reflected in another.
The unfolding bud doesn’t destroy the plant, it fulfils the plant.
Iain McGilchrist
“Colour in certain places has the great value of making the outlines and structural planes seem more energetic.”
— Antonio Gaudi