Francesco Clemente interview with Charlie Rose, 2008:
Clemente: "In painting, waiting is very big part of the effort."
Charlie Rose: "Waiting for what?"
Clemente: " Waiting for both the mind & the material to explicitate their narrative, to develop their narrative. Painting is not so much about decision, it's more about acceptance."
Charlie Rose: "Acceptance of, of what?"
Clemente: " Of the fact that certain structures and orders and narratives they really have their own saying, and all you have to do is listen."
Rose" "So one of the principle things of an artist is to listen & be able to hear."
"I am a painter by default. I'm a painter because I didn't really want to be anything else."
-Francesco Clemente
@ MMFA w/ JPC (12h00) :
Sapphic Weave, 2012
Kenojuak Ashevak, "The Enchanted Owl", 1960, stonecut.
Pudlo Pudlat,"The big Lemming", 1961, graphite.
Pudlo Pudlat, "The big Lemming", 1961, stonecut.
Luke Anuhadluq, "Untitled", 1970, coloured pencil.
Marc-Aurele de Foy Suzor-Cote, "Sketch for the Death of Montcalm", 1902, oil on canvas.
Tom Thompson, "Early Autumn, Algonquin Park", 1915, oil on wood.
Tom Thompson, "Rock-Burnt Country", 1917, oil on wood.
Guido Molinari, "Untitled", 1955, oil on canvas.
Marcelle Ferron, "Untitled", 1947, oil on canvas mounted on cardboard.
Fourth encounter with Tom Thompson, "Northern Lights" about 1916-17, oil on wood:
(seen from the left side of the room)
An old couple enters while we are there as well, spend more time with the painting than most, then leave.
The painting still feels veiled, somehow separated, as if always at a distance. The power really opens up when up close. The painting is above the eye-line, for most people, so is seen looking-up at a slight angle.
