Salomon saith, There is no new thing upon the earth. So that as Plato had an imagination, that all knowledge was but remembrance; so Salomon giveth his sentence, that all novelty is but oblivion.
Francis BaconRead
Great art is always a way of concentrating, reinventing what is called fact, what we know of our existence- a reconcentration… tearing away the veils, the attitudes people acquire of their time and earlier time. Really good artists tear down those veils
Interpretation
Great art challenges and transforms our understanding of reality and existence.
Francis Bacon suggests that true artistry involves a deep exploration and reinterpretation of the facts and perceptions that shape our understanding of life. By tearing away the societal veils and attitudes that cloud our perspectives, great artists reveal deeper truths about existence and provoke thought about our place in the world.
In practice
In a speech about the importance of creativity, one might say, 'As Francis Bacon wisely noted, great art challenges our perceptions of reality.'
Salomon saith, There is no new thing upon the earth. So that as Plato had an imagination, that all knowledge was but remembrance; so Salomon giveth his sentence, that all novelty is but oblivion.
Nothing doth more hurt in a state than that cunning men pass for wise.
Truth emerges more readily from error than from confusion.
Wise men make more opportunities than they find.
Knowledge and human power are synonymous.
Philosophy when superficially studied, excites doubt, when thoroughly explored, it dispels it.
Poetry is the deification of reality.
Part of the joy of looking at art is getting in sync in some ways with the decision-making process that the artist used and the record that's embedded in the work.
Skill in writing frees you to write what you want to write. It may also show you what you want to write. Craft enables art.
Neurologically, I'm a quadriplegic, so virtually everything about my work has been driven by my learning disabilities, which are quite severe, and my lack of facial recognition, which I'm sure is what drove me to paint portraits in the first place.
My first plays were amazingly bad, but I had a teacher who thought I had promise, and he kept working with me. I finally went to a summer workshop before my senior year with people like Sam Shepard and Maria Irene Fornes who encouraged me to write from my subconscious, and suddenly all this material about culture clash came out.
I often use nameless places in my work as a way of allowing the readers to create more of the novel and to make it potentially about their experiences, what they know, a city that they have perhaps seen on television.
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