"pausing beyond the closed door and softly knocking, softly knocking, on loves coffin."
- Martin Amis, Time’s Arrow (1991)
Surrealist André Masson (born on this day in 1896) used the method of automatic drawing—spontaneous doodles that sit on the edge of legibility—as a starting point for more developed compositions. Here, a seemingly random circular design becomes a sinister trap, poised to snare the unsuspecting beast within.
See this and other works by Masson in “The Surrealists: Works from the Collection” #TheSurrealists
“Animal Caught in a Trap,” 1929, by André Masson. © Artists Rights Society (ARS), New York/ADAGP, Paris
So , while Montezuma carries on his existence I’ve started another blog about mine and other’s poetry. Have a look if you wish and maybe follow as well.
All the best,
The fog that is like but more rare The wind that is like but not so sharp The sand that is like but turns to mud The hills that are like but more peopled The flowers that are like but bloom earlier The beach that is like but more crowded The summers that are like but darken quickly The air that is like but not so sweet
- Elizabeth Burns, Like
When I have talked for an hour I feel lousy – Not so when I have danced for an hour: The dancers inherit the party While the talkers wear themselves out and sit in corners alone, and glower.
- Ian Hamilton Finlay, The Dancers Inherit the Party
Margaret Tait Colour Poems (1974)
"Cinematographically I have registered the opening of escholtzia On an early summer morning. It gave me a sharp awareness of time passing, Of exact qualities and values in the light, But I didn’t see the movement As movement. I didn’t with my own direct perception see the petals moving."
- Margaret Tait, from Now (1959)
Online double-bill exhibition of Margaret Tait’s Land Makar (1981) and Anne-Marie Copestake’s And Under That (2012). Two “distinctive observational portraits of women in their own personal environments”
I haven’t seen Copestake’s film yet, but Tait’s is a great record of a worked, lived-in landscape.
"I choose lines and circles because they do the job.
My art is about working in the wide world,
wherever, on the surface of the earth.
My work is not urban, nor is it romantic.
It is the laying down of modern ideas
in the only practical places to take them.”
- Richard Long, Five, six, pick up sticks (1980)