Painting

To a painter, everything she has done is constantly present. For her, creating is absolutely and always instantaneous and she sees or knows the traces of all her actions in front of her. She could step back, change her perspective, add, blur, cut, play; she's author, performer, choreographer, recipient, all at the same time.

There sprouts beautiful benefit from this relation between creating and experiencing: the painter gets a visible response as to how she's transporting her impulse through the body onto the canvas. She may follow shape and color of an inner world, develop into just a presentiment, feel her way from the inside out or outside in—but whatever she does, it works best if she has clarity. Not about outcome or even the process, but about her own presence, about her own perception. Clarity not about a goal, but clarity in aiming; the aiming of the body as a means between impulse and canvas. The more finely tuned her perception, the more reliably will she follow inklings and ideas, the more vivid her sensations will become, her inner spaces, and the more precisely will she use her technical craft to translate imagination into action.