The Landscape becomes reflective, human and thinks itself though me. I make it an object, let it project itself and endure within my painting….I become the subjective consciousness of the landscape, and my painting becomes its objective consciousness.
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I am becoming more lucid before nature, but always with me the realization of my sensations is always painful. I cannot attain the intensity that is unfolded before my senses…. Here on the bank of the river the motifs multiply, the same subject seen from a different angle offers subject for study of the most powerful interest and so varied that I think I could occupy myself for months without changing place by turning now more to the right, now more to the left. — Cezanne
The lucidity that Cezanne speaks of gives way in the dry heat and white Light of the desert West to a (con)fusion of flows. The canyon below the house, a side-feeder to the spectacular Ute Canyon in the Monument, provides a setting for random movement driven by impulse: gravity applies. Following the topography of the canyon wall, following the central wash, following contact lines between regimes. Returning when Light begins to fail. Full moon around now allows for easy navigation, but any cloud cover can seriously compromise safety of movement. Mind flows purely no matter the sensory setting. The reflecting process, that is, the mind’s perception of what is there is perhaps the source of the objective reality. But how could we tell otherwise? Finally, we will die for this knowledge/die with this knowledge.