light and shadow,

light to shadow.

light, Hammer museum, UCLA.

Shadow, I don’t remember where anymore.

spiace, ho dimenticato.

**At Home: Alice Neel in the Queer World**
September 7—November 2, 2024
David Zwirner, Los Angeles

Few weeks, at Balse.

Let’s just take a deep breath,
let’s just ask the Baobab Tree for the next 30 minutes.
you’re welcome.

oh so dumb Europe dumb Europe dumb Europe

language, language, tyranny of words, theory of general semantics. worlds are symbols, not reality, they are high level abstractions.

There’s no coming back. All the things we had…. They’re just memories.

rust, trust, wait for dusk. wait for us.

feel my touch. what if i wait for you…

what do you want from me.

Falling together…

This Time, now clouds.

so obvious, speak louder than me.
There is no heaven, headphones on.

fuck it,
anti-fragile

Breath(e): Toward Climate and Social Justice

to family and friends
wondering, what would Georgia O’Keefe say?

**FIRELEI BÁEZ - The Fact That It Amazes Me Does Not Mean I Relinquish It**
**13 September 2024 – 5 January 2025**
**Hauser & Wirth, Downtown Los Angeles**

Devote Your ENTIRE Life - to be in exile, PP (Prague Photographer)

FKA twigs - Eusexua
cccccbgktcituuuijlgeltljntnlljlkllvtnegjfecr/cccccbgktcitdklgkfkcidrkd

DJ sets:

N/A - none…niente.

till next time. 4 sure

Charles A. Balse

Words of Wisdom

He claims that this method of working, which is his alone, is the only correct one, the only one leading to a serious result. He mercilessly condemns all preference for simplification which does not pass through submission to nature by means of a meditative and progressive analysis. If a painter is easily satisfied, it is because, according to Paul Cézanne, his vision is mediocre, his temperament practically worthless.

Leonardo da Vinci put forth a similar idea in his treatise on painting when he said, "The painter who has no doubts will profit little from his studies. When a work of art surpasses the judgment of the creator, he who works advances little; but when his judgment rules his works, those works become more and more perfect if inconsistency does not interfere." The artist will arrive at self-knowledge and the perfection of his art not through patience, therefore, but through love that gives insight and the desire to analyze in greater depth and to improve. He must extract from Nature an image which will be, properly speaking, his own; and only through analysis, if he has the strength to press it to the end, will he make himself known ultimately, unambiguously, abstractly.

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Documents of Twentieth-Century Art

Conversations with Cézanne

Michael Scott Doran, Julie Lawrence Cochran (Translator), Richard Shiff (Introduction)

One should never say "model"; one should say "modulate." Shadow is a color like light, but it is less brilliant. Light and shadow are nothing more than a rapport between two tones.

Everything in nature is modeled after the sphere, the cone, and the cylinder. If the artist learns to paint according to these simple figures, he will then be able to do all he desires.

Drawing and color are not distinct from one another; gradually as one paints, one draws. The more harmonious the colors are, the more precise the drawing will be. Form is at its fullest when color is at its richest. The secret of drawing and modeling lies in the contrasts and affinities of colors. The "effect" makes the painting, it unifies and concentrates it; and to produce this, a dominant patch is necessary. The artist must be a laborer in his art and discover early on his means of realization. He becomes a painter through the very qualities of painting itself. By exploring its coarse materiality. The painter must become classical again through nature, or, in other words, through sensation. It all comes down to this: to have sensations and to read nature.

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