When I reflect on how these drawings began, I realize it was a technical thing. It was about how ink bleeds in water.
In my sketchbook there is an entry from November 2000 reading: In Quest of Spontaneity and Aesthetic Refinement. It was the title of the second room in the exhibition, "Chinese Calligraphy, The Embodied Image" at The Metropolitan Museum. I thought about this for a while. I wrote it on the wall.
In "Strong Women, Beautiful Men – Japanese Portrait Prints from the Toledo Museum of Art ," author Laura Mueller says of a Natori Shunsen print from 1927: "The overall effect gives the impression that the figure has been deformed by his own evil intentions."
On page 197 from the novel "Gilead" by Marilynne Robinson, the narrator, Reverend Ames says: "In every important way we are such secrets from each other, and I do believe that there is a separate language in each of us, also a separate aesthetics and a separate jurisprudence."
Twice a year I drive out to Eastern Oregon with my friend and we look at the landscape.
- Storm Tharp, December 2006