Deng ming dao photo biography
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For example, my mother showed me how the first step of throwing pottery, wedging the clay, could mean the success or failure of the piece days later in the kiln: carelessly trapped air bubbles might cause the pot to shatter.
Even with the right preparation, there could be disappointment. He lived in Zhou for a long time. Creativity and discovery were two intertwined processes throughout my childhood.
I also learned that creativity required thorough preparation; any skipped step could lead to the ruin of the piece later.
From the first shaping of the wet clay to the final removal from the kiln, there were many moments when disaster could occur. In painting, it was color and form. She also said, “Handwork always takes more time.” Being an artist meant constant work, acceptance of disaster, joy in a good result, and acceptance that the process was not completely predictable.
My Childhood Neighborhood
The neighborhood around my parents’ studio was once the notorious Barbary Coast area of San Francisco, famous as a red-light district and home to flophouses for drunken seafarers.
Laozi replied: “You speak of those who have long decayed along with their bones. I’ve found a faith in the long-term: sometimes an idea has to spread slowly over many years after it’s taken form.
How does that intersect with martial arts? Both Zen and Taoism fascinated me. I’ve read as many books as I could find relevant over the course of decades.
That is the life of making.
Who is Ming-Dao. These were machines of an industrial age that has now been supplanted by a digital one.
Throughout my childhood, I could try to make anything I could imagine out of the metal, clay, and wood that surrounded me. You endeavor to make your movements more accurate.
Balance becomes just as important as depiction.
There are no mistakes in art. One has to know both traditions in order to first appreciate each of them, to practice them, and then to add to them. Maybe there’s plenty of fuel nearby, but the fire has to be fed, the ashes raked out of the pit, and air either fanned toward it or the wind shielded from it.
The extra examination that came with the discussion meant a deeper but initially unwelcome involvement with it.
He reached the pass. We glanced at it and wanted to turn away, but she insisted we stay, study it, and talk to her about it. I can’t even be sure that my wife will agree on my restaurant suggestion for dinner (my success rate is probably about 2%). The copper itself came in enormous sheets, mirror smooth, reflecting our faces and hands as we worked it.
Therefore a perfectly red canvas made sense: the shape of the art was identical to the shape of the canvas—it was not a picture of something but the thing itself. Everything that one needs to understand a piece should be right there; historical context, extraneous reasons for making the art, and, obviously, more mundane concerns such as interior decoration or social concerns were completely jettisoned.
Yet when one looks deeper, artists have been celebrated precisely for bringing external concerns and outside elements into art.
Conceptual art took that further: the art object wasn’t necessary, only the idea itself.