In a message dated 9/2/08 12:10:46 PM, [EMAIL PROTECTED] writes:

> William (and others, too):
>
> Do your skills and talents for analysis, critical thinking, and verbal 
> construction affect the way you paint and make pictures? Do the non-
> pictorial interests interfere with painting? add to it? have no 
> effect? go quiet and never intrude?
>
Non pictorial interests add to drawing.
>
> If your analytical and verbal abilities are active and alert, so to 
> speak, how do they engage the painting part of your focus?
> The analytical abilities are fully engaged, the verbal abilities are not.
>  How much of 
> your analytical awareness is specific to painting (paying attention to 
> edges, texture, pictorial elements, etc.)and how much to peripheral 
> matters (associations to other pictures and aritsts, e.g.)
> Almost all of it,edges in particular, quality of texture,   and to
references
to other pictures and artists.
>  and to 
> entirely unrelated stuff (reaction from your gallery, news from New 
> Orleans, what's up with the Republicans, the funny noise in the car)?
> I run the radio-NPR,because their English   is better-and they deal with the
unrelated stuff. I don't answer questions well when I'm properly drawing and I
often have no idea what NPR just said.
>
> I ask because I'm in the studio, brush in hand, trying not to think of 
> other things, and I can't -- as evidenced by the topic of this email.
> If unrelated   stuff really gets in the way I go and deal with it but
usually
it stays within the time allotted for it. Some of the process of drawing is
really dull- inches and inches of a particular tone for example,necessary for
the whole and tedious in part-and that's where I can get distracted. It is
also
where the radio comes in handy since I never know what it will say next and I
never have to reply.
KAte Sullivan
>
> Danke.
>
>
> | | | | | | | | | | | | | | | | | | |
> Michael Brady
> [EMAIL PROTECTED]
>
>
>




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