lirik lagu the a.r.t.i.s.t (zheng mix) – phoenix james
he always
says a few short mantras
in the form of a quiet prayer to himself
as he carefully selects and lays out
his choice of brushes and colours
he would be using for that particular day
he would say
there’s a certain creative doorway
you must mentally pass through
before you can ever even have a hope
in making love to the canvas
you see
it was his belief
that each new canvas
should be treated like a beautiful woman
you were bеing intimate with
for the first time
thе same care
with which she would be touched
is the same care
with which you should use the brush
from beginning to end
from the very first time you approached
until the moment you departed
he said
each and every stroke
should be exact
precise
and accounted for by the artist
nothing should be accidental
or without reason
the artist must understand
and be in tune with
the principles governing the higher self
allowing him to account for all he produces
both in the conscious mind
and in the sub*conscious
he often spoke of karmic law
applying it in the idea that the canvas
could only be a reflection
of what the painter had initially put into it
hence
he never failed to stress the importance
of preparation
and forming the right energy
within the sp*ce
in which you were going to work
for this reason
he had designed his easel
so that it could safely hold a candle
burning at both sides
he said
for him
the presence of them
added something to his environment
and his creative spirit
he said
but each painter has his own thing
whether its candles
the smell of incense
a particular type of lighting
music
even food
whatever
but he will have something
even if the painter
doesn’t realize it himself consciously
there will always be something used
to enhance mood
even if involuntary
but the key to mastery
is being aware of the affects of their presence
and to then choose appropriately
according to what you were aiming to achieve
for that particular painting
he never kept the subjects of painting
and the mind far apart
he often talked about the importance
of developing a photographic memory
he said
the painter must become like a sponge
absorbing all that he sees
soaking up the entirety
of the atmosphere that surrounds him
both indoors and out
and on the subject of versatility
he would say
the artist must master
how to alter and shift
from a blissful state of mind
to a despondent state of mind
at the blink of an eye
he said this is necessary
in terms of the artist
reaching different extremes
within his art
he would say
the artist must learn
how to make triple m’s
out of double m’s
meaning the artist must
learn how to make
magnificently mellow moments
out of melancholy moods
and vice*versa
even if he doesn’t feel that way
he must create it
because it’s the result he wants
which are the thoughts
and the emotions
that are stirred
in all
that see
his work
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